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Ein Geist in der Kehle de Doireann Ní…
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Ein Geist in der Kehle (2020 original; edició 2023)

de Doireann Ní Ghríofa (Autor)

MembresRessenyesPopularitatValoració mitjanaMencions
4081463,206 (4.11)13
When we first met, I was a child, and she had been dead for centuries. On discovering her murdered husband's body, an eighteenth-century Irish noblewoman drinks handfuls of his blood and composes an extraordinary lament. Eibhlin Dubh Ni Chonaill's poem travels through the centuries, finding its way to a new mother who has narrowly avoided her own fatal tragedy. When she realizes that the literature dedicated to the poem reduces Eibhlin Dubh's life to flimsy sketches, she wants more: the details of the poet's girlhood and old age, her unique rages, joys, sorrows, and desires, the shape of her days and site of her final place of rest. What follows is an adventure in which Doireann Ni Ghriofa sets out to discover Eibhlin Dubh's erased life-and in doing so, discovers her own. Moving fluidly between past and present, quest and elegy, poetry and those who make it, A Ghost in the Throat is a shapeshifting book: a record of literary obsession, a narrative about the erasure of a people, of a language, of women, a meditation on motherhood and on translation, and an unforgettable story about finding your voice by freeing another's.… (més)
Membre:miss.mesmerized
Títol:Ein Geist in der Kehle
Autors:Doireann Ní Ghríofa (Autor)
Informació:btb Verlag (2023), Edition: Deutsche Erstausgabe, 400 pages
Col·leccions:La teva biblioteca
Valoració:*****
Etiquetes:Cap

Informació de l'obra

A Ghost in the Throat de Doireann Ní Ghríofa (2020)

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» Mira també 13 mencions

Es mostren 1-5 de 14 (següent | mostra-les totes)
[b:A Ghost in the Throat|51498568|A Ghost in the Throat|Doireann Ní Ghríofa|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1591993457l/51498568._SY75_.jpg|76159117] stunned me with the beauty of its writing and its passion. The author/narrator is a young wife with four children under the age of six consumed by her exploration of an 18C Irish Gaelic poet named Eibhlín Dubh Ní Chonaill. The book is a paean to research as she scours the archives for information almost impossible to find on women of that era, on the "female text." She has to look at the men around Eibhlín Dubh to imagine what was happening with the poet as she tragically faced the murder of her husband. Much of the book is Ní Ghríofa's fantasies of the poet's life alternating with her own memoir of the last decade, another female text composed while sleepless, nursing and performing innumerable chores, "a dirge and a drudge-song, an anthem of praise, a chant and a keen, a lament and an echo, a chorus and a hymn."
"O my belovèd, steadfast and true!
The day I first saw you
by the market's thatched roof,
how my eye took a shine to you,
how my heart took delight in you,
I fled my companions with you,
to soar far from home with you.
And never did I regret it..." ( )
  featherbooks | May 7, 2024 |
A book of creative nonfiction that straddles genres, the work is, above all, what Irish poet Ní Ghríofa says it is in its first sentence, in its final sentence, and throughout: a female text. It is about women's desire and women's disappearances. In it she pursues and makes connections with the hidden life of Eibhlín Dubh Ní Chonaill, the 18th century poet and composer of the esteemed "Caoineadh Airt Uí Laoghaire", an oral lament she composed following the murder of her husband while pregnant with their third baby.

Desire features strongly at first. Eibhlín's desire for Art is present in the first lines of her lament:
The day I first saw you
by the market's thatched roof,
how my eye took a shine to you,
how my heart took delight in you,
I fled my companions with you,
to soar far from home with you.


She sees in the wives of the city merchants their own desire for her handsome, fearless husband when he walks down the streets:

How well, they could see
what a hearty bed-mate you'd be,
what a man to share a saddle with,
what a man to spark a child with.


This desire is further powerfully expressed in the language of the flesh when she discovers his dead body, Art having been shot while on horseback:

Love, your blood was spilling in cascades,
and I couldn't wipe it away, couldn't clean it up, no,
no, my palms turned cups and oh, I gulped.


Ní Ghríofa was captivated by this description of female desire from school age, and now as an adult, married with several children, in passionate love with her own husband, she identifies with and sees its connection to her own life. While we have many descriptions and musings on male desire, how welcome for a forthright depiction of female desire to get a turn.

Once the burden on my breasts diminishes, my inner clockwork clicks back to its usual configuration, bringing with it a hormonal swerve I hadn't expected. Desire returns, slamming open the door. Desire flings me to my knees, makes me tremble and beg, makes me crawl and gasp in the dark. Desire leaves me sprawled over beds and over tables, animal, throbbing, and wet. Every time I come, I weep. I missed it, desire, blissful and ordinary. I can't remember a time when I felt so relieved, or so happy.


Rediscovering this poem, making this connection, Ní Ghríofa now becomes intent on learning more about Eibhlín's life, and is aghast to find it largely missing. We don't know what became of her after Art's murder, how long she lived, where she lived, what she did, where she died, even where she is buried. The texts we have from that time are almost entirely about men, and even though Eibhlín's nephew was the political leader Daniel O'Connell, with lots of scholarship dedicated to his life and family, little of Eibhlín has survived. Ní Ghríofa decides to pursue the physical record and physical remains to retrieve what she can of the female life that lies hidden, that has disappeared.

The back and forth in the work between Ní Ghríofa's own life and her attempts at a reconstruction of Eibhlín's life seeks to build echoes between the two women's lives, and perhaps in a sense the lives of all women. Knowing all the details of her own life, and few of the details of Eibhlín's, it's a work that leans on poetic language and imagining what is not known based on what is. It's also a work of exhaustion, of frustration, before a final letting go of mysteries and language. ( )
  lelandleslie | Feb 24, 2024 |
Amazing story of a young Irish mother who from her schooldays has been obsessed with a long poem [ballad?] "Keen [Lament] for Art O Laoghaire". She admires the heroine of the poem, Eibhlin Dubh [Eileen the Dark], Art's wife, who has eloped with him and now tells his story, mourning him after he is killed. The author spends a long time researching the poem, translating it from the Gaelic to English and finding out all she can about Eibhlin and her extended family. Exquisitely written, and very poignant. She includes bilingual versions of this extended poem. ( )
  janerawoof | Feb 23, 2024 |
when it's good, it's very good ; when it is bad, it tries too hard, falls flat, and is kind of conventional and corny and very much in the spirit of this age.
It gets a bit lost towards the second half, meandering around in the author's thoughts and musings which are not strung together in a way that is clear to follow.
She overdoes it a bit too and it's a bit embarrassing in parts. I saw an interview with her in which she admitted that her favorite part of the book has to do with Airt O' Leary's horse. : ( I thought that was among the corniest and most embarrassing parts of the book. ( )
  puabi | Aug 13, 2023 |
Eine Ausnahmesituation bringt die Essayistin und Poetin Doireann Ní Ghríofa zu einer Adligen, Eibhlín Dubh Ní Chonaill, die zwei Jahrhunderte vor ihr lebte und ihre Gedanken und Emotionen ebenfalls in Gedichtform äußerte. Als erwachsene Frau nimmt sie den Text, den sie bereits in der Schulzeit einmal lesen musste, gänzlich anders wahr und spürt eine Verbindung, der sie nachgeht, wenn sie nicht gerade den Haushalt schmeißt oder sich um ihre drei Kinder kümmert. Eine Verbindung zwischen zwei Frauen über Zeit und gesellschaftliche Veränderungen hinweg.

Die Autorin hat für das Buch „Ein Geist in der Kehle“ eine Mischform von Texten gewählt, die am besten zum Ausdruck bringt, was sie leitet und wie sehr die Texte von Eibhlín Dubh sie bewegen. Das Schwangersein und Mutterwerden lässt sie mehr denn je als Frau empfinden und schafft ein starkes Band zu jener Frau, die heute zum irischen Nationalmythos zählt.

Beide Leben werden clever miteinander verwoben. Das der Autorin ist für mich besonders intensiv im Ausdruck, als sie ihre Tochter zur Welt bringt und bange Wochen nach der Frühgeburt durchlebt. Die Erschöpfung und Zweifel werden in jeder Zeile lebendig und treffen einem auch als Leserin unmittelbar, auch wenn man eine derartige Erfahrung nicht machen musste. Vor allem das Gefühl, in ihrer ureigenen Funktion als Mutter, die das in ihr heranwachsende Kind nicht gut versorgt, versagt zu habt, trifft die Autorin hart.

Im Kontrast dazu Eibhlín Dubh, die einerseits stark wirkt und doch nach dem Tod ihres Mannes das Schicksal der Frauen ihrer Zeit erleidet: sie verschwindet. Sie wird unsichtbar, nicht mehr erwähnt, weder in offiziellen noch in privaten Dokumenten. Einzig durch ihre Söhne lebt sie weiter und sehr gelegentlich als Randfigur, die jedoch nur beim Mädchen Rufnamen genannt wird.

Die Autorin nennt ihren Text feministisch. Nicht nur die beiden Protagonistinnen, sondern das, was sie gesellschaftlich zu Frauen macht, stehen im Zentrum. Die Angst zu versagen, die gesellschaftlichen Erwartungen nicht zu erfüllen, wirken stark durch. Und auch das Verschwinden, in dem Moment, wo der Gatte nicht mehr da ist, ist wohl ein sehr weibliches Phänomen.

Ein starker Text, der sich einer Genre-Zuordnung versagt. Eine feministische Perspektive, die einerseits sehr persönlich und doch auch wieder universell ist. Sprachlich außergewöhnlich und gerade in den poetischen Passagen ein literarischer Hochgenuss. ( )
  miss.mesmerized | Mar 6, 2023 |
Es mostren 1-5 de 14 (següent | mostra-les totes)
Doireann Ní Ghríofa's A Ghost in the Throat (Tramp Press) explores the author's obsession with an 18th-century poem by an Irish noblewoman. A genre-defying blend of memoir and translation, flights of fancy and everyday domesticity, it draws out connections across the centuries for a captivatingly original meditation on creativity and motherhood.
afegit per Cynfelyn | editaThe Guardian, Fiona Sturges (Nov 28, 2020)
 

» Afegeix-hi altres autors

Nom de l'autorCàrrecTipus d'autorObra?Estat
Doireann Ní Ghríofaautor primaritotes les edicionscalculat
Ní Chonaill, Eibhlín DubhCol·laboradorautor secundaritotes les edicionsconfirmat
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Títol normalitzat
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Títol original
Títols alternatius
Data original de publicació
Gent/Personatges
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Llocs importants
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Esdeveniments importants
Pel·lícules relacionades
Epígraf
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We are an echo that runs, skittering, through a train of rooms.
—Czeslaw Milosz
Dá dtéadh mo ghlao chun cinn
Go Doire Fhíonáin mór laistiar

Should my howl reach as grand Derrynane
—Eibhlín Dubh Ní Chonaill
Dedicatòria
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To the three Eileens who lit the lantern I see by: Eileen Blake, Eileen Forkan, and Eiblín Dubh Ní Chonaill.
Primeres paraules
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THIS IS A FEMALE TEXT.
Citacions
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This is a female text.
Darreres paraules
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Editor de l'editorial
Creadors de notes promocionals a la coberta
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Cap

When we first met, I was a child, and she had been dead for centuries. On discovering her murdered husband's body, an eighteenth-century Irish noblewoman drinks handfuls of his blood and composes an extraordinary lament. Eibhlin Dubh Ni Chonaill's poem travels through the centuries, finding its way to a new mother who has narrowly avoided her own fatal tragedy. When she realizes that the literature dedicated to the poem reduces Eibhlin Dubh's life to flimsy sketches, she wants more: the details of the poet's girlhood and old age, her unique rages, joys, sorrows, and desires, the shape of her days and site of her final place of rest. What follows is an adventure in which Doireann Ni Ghriofa sets out to discover Eibhlin Dubh's erased life-and in doing so, discovers her own. Moving fluidly between past and present, quest and elegy, poetry and those who make it, A Ghost in the Throat is a shapeshifting book: a record of literary obsession, a narrative about the erasure of a people, of a language, of women, a meditation on motherhood and on translation, and an unforgettable story about finding your voice by freeing another's.

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