Maggie Nelson Libros

De una honestidad implacable, en esta memoria (ganadora del National Book Critics Circle Award en crítica, 2015), y a la vez ensayo, Maggie Nelson narra su singular y entrañable historia de amor con Harry Dogde, un artista transgénero, y cómo, en un contexto donde aún se debate la ley de unión civil entre homosexuales, intentan construir juntos una familia. En la tradición de intelectuales como Susan Sontag y Roland Barthes, Nelson entrelaza su propia experiencia con la teoría icónica, para explorar distintas construcciones culturales en torno a las nociones de identidad, sexualidad, género, maternidad y matrimonio. ¿De qué manera crea el lenguaje instituciones como el matrimonio, la familia y la legalidad? ¿Cómo se construye la identidad del sujeto queer (o subversivo) en un mundo donde la disidencia de género ha sido cooptada por la sociedad de consumo? Estas son algunas de las interrogantes que la narradora va deshilvanando, sin renunciar jamás a contar una historia que es el testimonio de una mujer que sufre y goza en su afán de construir una familia que no cabe ni en la lengua, ni en las estancas categorías de género. «Una de las más electrificantes escritoras norteamericanas de hoy […]. Fusionando lo que en otras manos podrían ser áridas teorías o confesiones sensibleras, Nelson crea un vigoroso lenguaje para reflexionar sobre el confuso binomio arte-vida». Olivia Laing, The Guardian

In this whip-smart study, Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell.

The narrative recounts the life and tragic death of Maggie Nelson's aunt Jane, who was murdered in 1969 while a first-year law student at the University of Michigan. Her murder remains officially unsolved and is believed to be part of a series of brutal rape-murders in the area during that time. Born after Jane's death, Nelson reflects on the profound impact this event had on her family and her own psyche. The exploration unfolds through a blend of poetry, prose, dream narratives, and documentary sources, including newspapers and true crime literature, along with excerpts from Nelson's diaries from her teenage years. The work is divided into eight sections, detailing Jane's life, her murder, its investigation, and the lasting effects on Nelson's childhood and sisterhood. A trip to Michigan with her mother to retrace Jane's last hours adds depth to the narrative. Each section varies in form, with the transitions and surrounding white space creating fissures that challenge the sensationalism of the story, prompting deeper reflections on girlhood, empathy, and the complexities of another's life and death. This piece serves as an elegy, memoir, detective story, and a meditation on violence, expanding the boundaries of poetry and storytelling.

Tells the story of the life and death of Maggie Nelson's aunt Jane, who was murdered in 1969, via a collage of poetry and prose.

A career-spanning collection of inspiring, revelrous essays about art and artistsLike Love is a momentous, raucous collection of essays drawn from twenty years of Maggie Nelson’s brilliant work. These profiles, reviews, remembrances, tributes, and critical essays, as well as several conversations with friends and idols, bring to life Nelson’s passion for dialogue and dissent. The range of subjects is wide―from Prince to Carolee Schneemann to Matthew Barney to Lhasa de Sela to Kara Walker―but certain themes intergenerational exchange; love and friendship; feminist and queer issues, especially as they shift over time; subversion, transgression, and perversity; the roles of the critic and of language in relation to visual and performance arts; forces that feed or impede certain bodies and creators; and the fruits and follies of a life spent devoted to making.Arranged chronologically, Like Love shows the writing, thinking, feeling, reading, looking, and conversing that occupied Nelson while writing iconic books such as Bluets and The Argonauts. As such, it is a portrait of a time, an anarchic party rich with wild guests, a window into Nelson’s own development, and a testament to the profound sustenance offered by art and artists.

This is criticism at its best.-Carolyn Kellogg, Los Angeles Times

What can freedom really mean? In this invigorating, essential book, Maggie Nelson explores how we might think, experience or talk about the concept in ways that are responsive to our divided world. Drawing on pop culture, theory and the intimacies and plain exchanges of daily life, she follows freedom - with all its complexities - through four realms: art, sex, drugs and climate. On Freedom offers a bold new perspective on the challenging times in which we live

Selected as a Book of the Year 2017 in the Guardian. 'Maggie Nelson's short, singular books feel pretty light in the hand... But in the head and the heart, they seem unfathomably vast, their cleverness and odd beauty lingering on' Observer. In 1969, Jane Mixer, a first-year law student at the University of Michigan, posted a note on a student noticeboard to share a lift back to her hometown of Muskegon for spring break. She never made it: she was brutally murdered, her body found a few miles from campus the following day. The Red Parts is Maggie Nelson's singular account of her aunt Jane's death, and the trial that took place some 35 years afterward. Officially unsolved for decades, the case was reopened in 2004 after a DNA match identified a new suspect, who would soon be arrested and tried. In 2005, Nelson found herself attending the trial, and reflecting with fresh urgency on our relentless obsession with violence, particularly against women. Resurrecting her interior world during the trial - in all its horror, grief, obsession, recklessness, scepticism and downright confusion - Maggie Nelson has produced a work of profound integrity and, in its subtle indeterminacy, deadly moral precision.

Suppose I were to begin by saying that I had fallen in love with a color...A lyrical, philosophical, and often explicit exploration of personal suffering and the limitations of vision and love, as refracted through the color blue. With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.

So often deployed as a jingoistic, even menacing rallying cry, or limited by a focus on passing moments of liberation, the rhetoric of freedom both rouses and repels. Does it remain key to our autonomy, justice, and well-being, or is freedom's long star turn coming to a close? Does a continued obsession with the term enliven and emancipate, or reflect a deepening nihilism (or both)? On Freedom examines such questions by tracing the concept's complexities in four distinct realms: art, sex, drugs, and climate. Drawing on a vast range of material, from critical theory to pop culture to the intimacies and plain exchanges of daily life, Maggie Nelson explores how we might think, experience, or talk about freedom in ways responsive to the conditions of our day. Her abiding interest lies in ongoing "practices of freedom" by which we negotiate our interrelation with--indeed, our inseparability from--others, with all the care and constraint that entails, while accepting difference and conflict as integral to our communion. For Nelson, thinking publicly through the knots in our culture--from recent art-world debates to the turbulent legacies of sexual liberation, from the painful paradoxes of addiction to the lure of despair in the face of the climate crisis--is itself a practice of freedom, a means of forging fortitude, courage, and company. On Freedom is an invigorating, essential book for challenging times. -- Publisher description