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Leonora Carrington (1917–2011)

Författare till Hörluren

36+ verk 2,587 medlemmar 73 recensioner 15 favoritmärkta

Om författaren


(eng) Do not confuse with painter Dora de Houghton Carrington (1893-1932).

Verk av Leonora Carrington

Hörluren (1967) 1,135 exemplar, 42 recensioner
The Complete Stories of Leonora Carrington (2017) 410 exemplar, 10 recensioner
Down Below (1944) 323 exemplar, 4 recensioner
The Seventh Horse and Other Tales (1988) 146 exemplar, 3 recensioner
The Skeleton's Holiday (2018) 118 exemplar, 4 recensioner
The House of Fear: Notes from Down Below (1988) 105 exemplar, 2 recensioner
The Milk of Dreams (2013) 80 exemplar, 5 recensioner
The stone door (1977) 40 exemplar, 1 recension
The Debutante and Other Stories (2017) 30 exemplar, 1 recension
Leonora Carrington (1995) 18 exemplar
La debuttante 7 exemplar

Associerade verk

The Weird: A Compendium of Strange and Dark Stories (2011) — Bidragsgivare — 841 exemplar, 21 recensioner
Wayward Girls & Wicked Women: An Anthology of Subversive Stories (1986) — Bidragsgivare — 531 exemplar, 8 recensioner
Sisters of the Revolution: A Feminist Speculative Fiction Anthology (2015) — Bidragsgivare — 301 exemplar, 8 recensioner
The Oxford Book of English Short Stories (1998) — Bidragsgivare — 197 exemplar, 3 recensioner
The Big Book of Classic Fantasy (2019) — Bidragsgivare — 173 exemplar, 3 recensioner
The Penguin Book of Modern Fantasy by Women (1995) — Cover artist, Contributor — 166 exemplar, 3 recensioner
The Big Book of Modern Fantasy (2020) — Bidragsgivare — 111 exemplar, 1 recension
Surrealist Women : An International Anthology (1998) — Bidragsgivare — 99 exemplar
Queens of the Abyss: Lost Stories from the Women of the Weird (2020) — Bidragsgivare — 85 exemplar, 2 recensioner
Surrealist Painters and Poets: An Anthology (2001) — Bidragsgivare — 68 exemplar
The Dedalus Book of Surrealism, I: The Identity of Things (1656) — Bidragsgivare — 60 exemplar
Infinite Riches (1993) — Bidragsgivare — 54 exemplar
South From Midnight (1994) — Bidragsgivare — 13 exemplar
Van Flaubert tot heden : Franse verhalen — Bidragsgivare — 3 exemplar
怪奇小説傑作集 4 (創元推理文庫 501-4) (1969) — Bidragsgivare — 1 exemplar


Allmänna fakta

Vedertaget namn
Carrington, Leonora
Andra namn
Prim (childhood nickname)
Carrington, Mary Leonora
Land (för karta)
England, UK
Clayton-le-Woods, Leyland, Lancashire, England, UK
Mexico City, Mexico
Florence, Italy
London, England, UK
Paris, France
Mexico City, Mexico
New York, New York, USA
Spain (visa alla 9)
Westwood House, Clayton-le-Woods, Leyland, Lancashire England, UK
Hazelwood Hall, Morecambe, Lancashire, England, UK
Saint-Martin-d'Ardèche, France
Chelsea School of Art
Ozenfant Academy of Fine Arts
Mrs. Penrose's Academy of Art, Florence
short story writer
Ernst, Max (lover)
Weisz, Emerico (spouse)
Leduc, Renato (spouse)
Moorhead, Joanna (second cousin)
Ozenfant, Amédée (teacher)
Edgeworth, Maria (ancestor) (visa alla 8)
Weisz Carrington, Gabriel (son)
Weisz Carrington, Pablo (son)
Priser och utmärkelser
Order of the British Empire (2000)
Kort biografi
Leonora Carrington was born to an Anglo-Irish family in Clayton Green, Lancashire, England. Her parents were Marie (Moorhead) and Harold Wylde Carrington, a wealthy textile manufacturer, and she had three brothers. She was educated by governesses and attended two convent boarding schools, but was expelled for rebellious behavior. In 1935, her mother sent her to Chelsea School of Art in London for a year; she transferred to the Ozenfant Academy of Fine Arts established by French modernist Amédée Ozenfant. She then went to Florence, Italy, where she attended Mrs. Penrose's Academy of Art. Her father opposed her desire to pursue a career as an artist and writer, but her mother encouraged her and gave her a copy of Herbert Read's book Surrealism. In 1937, 19-year-old Carrington met German Surrealist artist Max Ernst, 26 years her senior, at a party in London, after which Ernst separated from his wife and ran off with Carrington. The couple went to live in a small farmhouse in Saint-Martin-d'Ardèche in the Rhône Valley of France, where they began to collaborate and support each other's artistic development. They painted and sculptured guardian animals to decorate their home, and made portraits of each other. At this time, Carrington completed her first major painting Self-Portrait (Inn of the Dawn Horse), now at the Metropolitan Museum of Art in New York City. After Nazi Germany invaded France in World War II, Ernst was arrested by the Gestapo, but managed to escape and flee to the USA with the help of Peggy Guggenheim. Carrington was devastated. She was persuaded to go to Spain, where she had a mental breakdown and was institutionalized. She was given electro-convulsive therapy and treated with the drugs Cardiazol and Luminal. This experience would influence her artistic and written works, for example, her 1944 memoir Down Below and her paintings Portrait of Dr. Morales (1940), Green Tea (1942), and Map of Down Below (1943). Carrington was released from the asylum into the care of a keeper sent by her family, whom she eluded in Lisbon. She made a marriage of convenience with Mexican poet Renato Leduc and in 1942, arrived in Mexico City, which already had a large community of European refugees from the Nazis. She remarried to Hungarian photographer Emerico "Chiki" Weisz, with whom she had two sons. After seven years, she held the first solo exhibition of her art at the Galeria Clardecor, and became famous almost overnight. She is considered to have feminised Surrealism by bringing a woman's perspective to what was otherwise a male-dominated artistic movement. She was also a founding member of the women's liberation movement in Mexico during the 1970s. Her best-known novel The Hearing Trumpet (1974) was reissued in 2021. At her death, she left behind an immense body of work: novels, prints, plays, costumes, and hundreds of sculptures and paintings.
Do not confuse with painter Dora de Houghton Carrington (1893-1932).



I couldn't tell you what I was expecting, but I guarantee it wasn't any of this. Delightful and funny and ridiculous.
Kiramke | 41 andra recensioner | Jun 2, 2024 |
featherbooks | 4 andra recensioner | May 7, 2024 |
Leonora Carrington is typically identified with the Surrealist movement, and her novel The Hearing Trumpet does reflect on the exoteric aspects of that school briefly (66). But the book engages and parodies many esoteric currents, from Gurdjieffianism to alchemy to Neo-Templarism to witchcraft. The story is an initiatory drama like that of Andreae's Chymical Wedding of Christian Rosenkreutz, and Carrington's protagonist analogous to CRC is the 92-year-old Marian Leatherby, whose deafness is overcome by the implement of the book's title at the outset of the tale.

Although the word "Mexico" does not appear in the text, the story does evidently take place there, reflecting both the author's frequent and sustained residence there (where she eventually died in 1911) but also her English background and cosmopolitanism. There is a great amount of genuine comedy throughout, rising gradually from the introspective to the eschatological. The narrative vector is, now that I think of it, rather like that of Vonnegut's Cat's Cradle.

The book is short and fast-moving. I found the reading experience similar to other surrealist novels--in the generic rather than the partisan sense--I have read in recent years, such as O'Brien's Third Policeman and Lem's Manuscript Found in a Bathtub. I suspect that it shares with the latter an indebtedness to Potocki's Manuscript found in Saragossa.

The text is accompanied by about a dozen of the author's own illustrations, of which the originals were evidently in pen and ink. These lend a further energy to the story. They are faithful to the words, without adding much additional meaning, although sometimes bringing out narrative implications in stark relief.

My copy is the Penguin Modern Classics edition with a 2005 introduction by Ali Smith. Those unfamiliar with Carrington's rather amazing biography can benefit from this front matter. While Smith praises the novel and provides a high-level gloss of its plot and themes, she does little interpretive work on a text that speaks so crisply for itself.
… (mer)
paradoxosalpha | 41 andra recensioner | May 5, 2024 |
So much fun. Reminds me of Lolly Willowes by Sylvia Warner, except significantly more wild. It's a novel that constantly is upending its own narrative expectations--it's a humorous meditation on aging and ageism that becomes a gothic romance which becomes a magical realist murder mystery which becomes an apocalypse which becomes a founding of a new kind of world and a restoration of a different kind of religion. Does that mean that there's bunch of narrative threads which don't end up going anywhere? Yeah. But it also is an enormous rollicking adventure of a book that's often delightful.
I do wish it were less essentialist in its understandings of gender, and there's some racist depictions of characters of color that are uncomfortable at best. Like a lot of work by white cis women at this time, it comes very close to some really big ideas, but is hampered in its execution by the author's own paradigms.
… (mer)
localgayangel | 41 andra recensioner | Mar 5, 2024 |



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