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Childhood : The Copenhagen Trilogy: Book 1 by Tove Ditlevsen (2021, Trade Paperback)
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About this product
Product Identifiers
PublisherFarrar, Straus & Giroux
ISBN-100374722935
ISBN-139780374722937
eBay Product ID (ePID)15050070424
Product Key Features
Book TitleChildhood : the Copenhagen Trilogy: Book 1
Number of Pages112 Pages
LanguageEnglish
Publication Year2021
TopicWomen, Personal Memoirs, Literary
GenreBiography & Autobiography
AuthorTove Ditlevsen
Book SeriesThe Copenhagen Trilogy Ser.
FormatTrade Paperback
Dimensions
Item Height0.3 in
Item Weight3.2 Oz
Item Length7.6 in
Item Width4.9 in
Additional Product Features
Intended AudienceTrade
LCCN2020-035110
Reviews"Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They're as brilliant as I'd been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen's writing] is crystal clear and vividly, painfully raw." --Lucy Scholes, The Paris Review "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "Ditlevsen is self-deprecating and effective at conveying the fish-eye view of a child in a claustrophobic environment; she understands that part of the memoirist's job is to remember how life felt and synthesize it in a way she couldn't have at the time. . . . Ditlevsen is a master of slow realization, quick characterization, and concise ironies." --Lauren Oyler, Harper's "[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They're as brilliant as I'd been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen's writing] is crystal clear and vividly, painfully raw." --Lucy Scholes, The Paris Review "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "How does great literature--the Grade A, top-shelf stuff--announce itself to the reader? . . . I bring news of Tove Ditlevsen's suite of memoirs with the kind of thrill and reluctance that tells me this must be a masterpiece . . . [The trilogy is] the product of a terrifying talent." -- Parul Sehgal, The New York Times Book Review "There are some writers whose sentences sting like a steady stream of ice-cold water from the tap, and others whose prose feels pleasurably warm as they gradually increase the temperature. The Danish writer Tove Ditlevsen managed to do both . . . While Ditlevsen's prose is often straightforward and uncomplicated, the effect is a hypnotic longing, the pull between desiring the life of an artist and wanting some sense of normalcy." --Michele Filgate, The Boston Globe "Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "No one has written about childhood quite as memorably as the Danish poet Tove Ditlevsen, or described the compulsion to write with so much hope and foreboding. Her memoirs of growing up in working-class Copenhagen before the Second World War read like Ferrante meets Fierce Attachments . . . But Ditlevsen's brooding lyricism is all her own." --Julie Phillips, 4Columns "Ditlevsen is self-deprecating and effective at conveying the fish-eye view of a child in a claustrophobic environment; she understands that part of the memoirist's job is to remember how life felt and synthesize it in a way she couldn't have at the time. . . . Ditlevsen is a master of slow realization, quick characterization, and concise ironies." --Lauren Oyler, Harper's "[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They're as brilliant as I'd been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen's writing] is crystal clear and vividly, painfully raw." --Lucy Scholes, The Paris Review "Memoir as confession--a powerful, psychologically astute work of self-examination and remembrance." -- Publishers Weekly (starred review) "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "Ditlevsen is self-deprecating and effective at conveying the fish-eye view of a child in a claustrophobic environment; she understands that part of the memoirist's job is to remember how life felt and synthesize it in a way she couldn't have at the time. . . . Ditlevsen is a master of slow realization, quick characterization, and concise ironies." --Lauren Oyler, Harper's "[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They're as brilliant as I'd been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen's writing] is crystal clear and vividly, painfully raw." --Lucy Scholes, The Paris Review "Memoir as confession--a powerful, psychologically astute work of self-examination and remembrance." -- Publishers Weekly (starred review) "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer, "Tove Ditlevsen's writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above." --Rachel Kushner, author of The Mars Room "No one has written about childhood quite as memorably as the Danish poet Tove Ditlevsen, or described the compulsion to write with so much hope and foreboding. Her memoirs of growing up in working-class Copenhagen before the Second World War read like Ferrante meets Fierce Attachments . . . But Ditlevsen's brooding lyricism is all her own." --Julie Phillips, 4Columns "Ditlevsen is self-deprecating and effective at conveying the fish-eye view of a child in a claustrophobic environment; she understands that part of the memoirist's job is to remember how life felt and synthesize it in a way she couldn't have at the time. . . . Ditlevsen is a master of slow realization, quick characterization, and concise ironies." --Lauren Oyler, Harper's "[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They're as brilliant as I'd been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen's writing] is crystal clear and vividly, painfully raw." --Lucy Scholes, The Paris Review "Memoir as confession--a powerful, psychologically astute work of self-examination and remembrance." -- Publishers Weekly (starred review) "Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." --Margaret Quamme, Booklist "Mordant, vibrantly confessional . . . A masterpiece." --Liz Jensen, The Guardian "The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling." --John Self, New Statesman "Both [The Copenhagen Trilogy and Elena Ferrante's Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen's work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass. She's a writer who, like Jean Rhys, explores the seamy ambiguities of female abjection - with a voice whose power blasts through." --Lucasta Miller, The Times Literary Supplement "Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent." --Alex Preston, Observer
Series Volume Number1
SynopsisThe celebrated Danish poet Tove Ditlevsen begins the Copenhagen Trilogy ("A masterpiece" -- The Guardian ) with Childhood , her coming-of-age memoir about pursuing a life and a passion beyond the confines of her upbringing--and into the difficult years described in Youth and Dependency Tove knows she is a misfit whose childhood is made for a completely different girl. In her working-class neighborhood in Copenhagen, she is enthralled by her wild, red-headed friend Ruth, who initiates her into adult secrets. But Tove cannot reveal her true self to her or to anyone else. For "long, mysterious words begin to crawl across" her soul, and she comes to realize that she has a vocation, something unknowable within her--and that she must one day, painfully but inevitably, leave the narrow street of her childhood behind. Childhood , the first volume in the Copenhagen Trilogy, is a visceral portrait of girlhood and female friendship, told with lyricism and vivid intensity.
LC Classification NumberPT8175.D5Z46 2021b
