Gabriel Josipovici

Gabriel Josipovici's The Cemetery in Barnes is a short, intense novel that opens in elegiac mode, advances quietly towards something dark and disturbing, before ending with an eerie calm. Its three plots, relationships and time-scales are tightly woven into a single story; three voices--as in an opera by Monteverdi--provide the soundtrack, enhanced by a chorus of friends and acquaintances. The main voice is that of a translator who moves from London to Paris and then to Wales, the setting for an unexpected conflagration. The ending at once confirms and suspends the reader's darkest intuitions. "The Cemetery in Barnes reaffirms Josipovici's status as 'one of the very best writers now at work in the English language, and a man whose writing, both in fiction and in critical studies, displays a unity of sensibility and intelligence and deep feeling difficult to overvalue at any time.'" --Guardian

The Cemetery in Barnes

the story of a movement

Infinity

Tacto

El cantor en la orilla

Is the Bible one book or a collection of writings? If it is a book, does it stand as a coherent piece of literature? Building on the recently renewed interest in biblical narrative associated with Erich Auerbach, Northrop Frye, and Robert Alter, Gabriel Josipovici here sets out to answer these and other equally fascinating questions. Developing his argument through close textual analysis, Josipovici draws on his deep knowledge and appreciation of medieval and modern art and literature and on his personal understanding of the possibilities of narrative. His beautifully written book not only lifts literary-biblical criticism to a new level but also makes the Bible accessible to our secular age. "This is a book to be grateful for: thoughtful, deeply felt, and beautifully written."--David Lodge, Independent "Full of such insights, which deserve and need to be pondered by both literary critics and Biblical scholars of the traditional sort."--John Barton, London Review of Books " His book is easy, intimate and direct, partly because he has digested all his learning, partly because his dissatisfaction with his predecessors' solutions never belittles them, and partly because his own readings are those of a cultivated contemporary who, though respectful, is not awestruck. Whatever he turns to, he illuminates."--The New Yorker "His urbane style, shrewd discernment, subtle humor, and above all, his passion for words lead us to listen in fresh ways."-- Walter Brueggemann, Theology Today "As 'A Response to the Bible, ' The Book of God is fresh and energetic, scattering insights in all directions, making original and unexpected connections between the Bible and such modern authors as Proust, casting new light upon such questions as the Bible's place in Western culture, the nature of its authority, the unity and discontinuities of the text, and the need for a perspective that at once transcends and unites historical-theological and aesthetic interpretation."--Northrop Frye

A Response to the Bible

The Book of God

Touch

Barnestaki Mezarlik

Franz Kafka

Kafka was an obsessive writer who produced a huge volume of stories, novels, diaries and letters in his brief lifetime. The present volume includes all his available shorter fiction in a new collection edited and introduced by Gabriel Josipovici. The stories, which range from tiny fragments to substantial narratives, have been arranged both to illuminate one another and to illustrate Kafka's evolution as a writer - which, as Professor Josipovici shows, is more complex and radical than often thought. The extensive prefatory essay is an introduction not only to the stories but also to Kafka's work as a whole.

Collected Stories

What is Gabriel's new book about, says Joe. It is about families. Big families? Frail families, the knots that skip between parents and children, between husbands and wives, between lovers, says Freddy. Lovers aren't part of families, Dad. Sometimes they are. Sometimes they're what keep families together. Like grandparents? Like Uncle Simon? Not like grandparents. Certainly not like Uncle Simon. Like who, then? Listen to what they say and what they don't say. They go to work, they face the weekend, an afternoon of furtive sex, an art exhibition. Daily situations. It's now, just like our now. Like our now? Yes, says Freddy. Will you read it to me? Tomorrow. It's late now, Freddy says. We'll start it tomorrow. Turn off the light.

Olivia Manning

Francis King

Ian Cochrane

Penguin Modern Stories

Moo Pak

Everything Passes

Forgetting

Essays 1991-2004

The Singer on the Shore

Hotel Andromeda

Josipovici moves from a Charlie Chaplin film to passages from Proust, from the world of sport to the world of addiction, from medieval pilgrimages to the cult of relics, from a wedding photograph of his grandparents to some of Chardin's most enigmatic paintings. Through these seemingly disparate topics he provides engaging and wise commentary on connection and communication in life. Contrasting the senses of sight and touch, Josipovici notes that although sight seems to give us the totality of what we behold, it is only when we walk or feel our way across the distances that things become more than images and begin to constitute the world in which we, as touchers and not mere observers, are included. If we depend on sight - which seems to offer a frictionless domination over reality - we may avoid the pains and uncertainties of living, but we also lose our involvement with life.

Moo pak

William Shakespeare's Hamlet is probably the best-known and most commented upon work of literature in Western culture. The paradox is that it is at once utterly familiar and strangely elusive—very like our own selves, argues Gabriel Josipovici in this stimulating and original study. Moreover, our desire to master this elusiveness, to “pluck the heart out of its mystery,” as Hamlet himself says, precisely mirrors what is going on in the play; and what Shakespeare's play demonstrates is that to conceive human character (and works of art) in this way is profoundly misguided. Rather than rushing to conclusions or setting out a theory of what Hamlet is “about,” therefore, we should read and watch patiently and openly, allowing the play to unfold before us in its own time and trying to see each moment in the context of the whole. Josipovici’s valuable book is thus an exercise in analysis which puts the physical experience of watching and reading at the heart of the critical process—at once a practical introduction to a great and much-loved play and a sophisticated intervention in some of the key questions of theory and aesthetics of our time.

Fold on Fold

Hamlet

When in March 2020 the Covid pandemic led the Government to impose a total lockdown Gabriel Josipovici decided that he would respond to a unique situation by writing an essay a day for a hundred days, prefacing each with a diary entry, keeping track of the changing seasons as well as the pandemic. As organising and generating principle for the essays he chose the alphabet, and the result is a stimulating kaleidoscope of topics from Aachen to Zoos, passing by Alexandria, Luciano Berio, Ivy Compton-Burnett, reflections on his own early works The Echo-Chamber and Flow, Langland's Piers Plowman, the idea of repetition in life and art, and much else. Josipovici reminds us that he has previously 'plundered episodes in my life to illustrate the intertwining of memory and forgetting, the desire to remember and the need to forget', and here he has someone say to him: 'You don't seem to be afraid of revealing a great deal about yourself.' 'I don’t think I feel it that way,' he responds. 'I can "reveal" precisely because it does not seem to be part of me. It seems to belong to someone else, a writer I have lived with, an immigrant I have known.' Loquacious, funny and incautious, this surprising book is in effect a kind of expressionist self-portrait as well as a meditation on a hundred days of the pandemic.

100 Days

Gabriel Josipovici's acclaimed novel reissued in 2018. Josipovici's novel is based on the life of Pierre Bonnard, the painter of enchanting domestic interiors and innocently unsensual nudes. A thoughtful and deeply felt piece told in three parts from the perspectives of Bonnard's wife, daughter, and the painter himself. The publisher is currently reprinting this title, reissuing it with a new cover ahead of the Pierre Bonnard exhibition, "The Colour of Memory," scheduled at Tate Modern, London (Jan-May 2019).

Gabriel Josipovici

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