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“It’s hard to think of a writer who has multiplied the possibilities more times than Roberto Bolaño . . . [Antwerp is] exceptional and moving.” —Nicole Krauss, The Guardian Oft called the “big bang” of Roberto Bolaño’s universe, Antwerp is his first novel—or the shattered remnants of one. Written when he was just twenty-seven years of age, it was so intensely strange and solitary that he tucked it away for more than twenty years, certain that any publisher would slam the door in his face. It proceeds in hallucinatory sketches: a lonely highway, a desolate campground, a freshly abandoned hotel room; a tryst, an interrogation, a murder; and somewhere just out of reach, a young, feverish writer named Roberto Bolaño drifting in and out of view. A radical, sui generis effort by a burgeoning genius, Antwerp is an essential part of Bolaño’s oeuvre.
A revelatory history of Antwerp—from its rise to a world city to its fall in the Spanish Fury—by the New York Times Notable author of The Edge of the World. Before Amsterdam, there was a dazzling North Sea port at the hub of the known world: the city of Antwerp. In the Age of Exploration, Antwerp was sensational like nineteenth-century Paris or twentieth-century New York. It was somewhere anything could happen or at least be believed: killer bankers, easy kisses, a market in secrets and every kind of heresy. For half the sixteenth century, it was the place for breaking rules—religious, sexual, intellectual. And it was a place of change—a single man cornered all the money in the city and reinvented ideas of what money meant. Another gave the city a new shape purely out of his own ambition. Jews fleeing the Portuguese Inquisition needed Antwerp for their escape, thanks to the remarkable woman at the head of the grandest banking family in Europe. Thomas More opened Utopia there, Erasmus puzzled over money and exchanges, William Tyndale sheltered there and smuggled out his Bible in English until he was killed. Pieter Bruegel painted the town as The Tower of Babel. But when Antwerp rebelled with the Dutch against the Spanish and lost, all that glory was buried and its true history rewritten. The city that unsettled so many now became conformist. Mutinous troops burned the city records, trying to erase its true history. In Europe’s Babylon, Michael Pye sets out to rediscover the city that was lost and bring its wilder days to life using every kind of clue: novels, paintings, songs, schoolbooks, letters and the archives of Venice, London and the Medici. He builds a picture of a city haunted by fire, plague, and violence, but one that was learning how to be a power in its own right as it emerged from feudalism. An astounding and original narrative that illuminates this glamorous and bloody era of history and reveals how this fascinating city played its role in making the world modern.
This book engages with Antwerp in the Renaissance. Bringing together several specialists of sixteenth-century Antwerp, it offers new research results and fresh perspectives on the economic, cultural and social history of the metropolis in the sixteenth century. Recurrent themes are the creative ways in which the Italian renaissance was translated in the Antwerp context. Imperfect imitation often resulted from the specific social context in which the renaissance was translated: Antwerp was a metropolis marked by a strong commercial ideology, a high level affluence and social inequality, but also by the presence of large and strong middling layers, which contributed to the city's 'bourgeois' character. The growth of the Antwerp market was remarkable: in no time the city gained metropolitan status. This book does a good job in showing how quite a few of the Antwerp 'achievements' did result from the absence of 'existing structures' and 'examples'. Moreover, the city and its culture were given shape by the many frictions, and uncertainties that came along with rapid urban growth and religious turmoil.
This volume of the Index Emblematicus deals with three early seventeenth-century works: Remaines of a Greater Worke Concerning Britaine, by William Camden; The Mirrour of Maiestie, by H.G.; and Otto van Veen's Amorum Emblemata. Camden's Remaines is noteworthy for using imprese in language as pictorial image; for mixing imprese with cognizance; and for considering impresa itself as the identity of the individual rather than as a general principle. H.G.'s Mirrour is remarkable in that every one of its emblems consists of a personal heraldic coat of arms of an identified statesman twinned with a pictorial engraving, motto, and epigram on an opposite page. Van Veen's Emblemata enters literary history as a volume of emblem pictures consecrated to secular love experience, encapsulating some of the conventions of the sonnet sequences and having a strong influence on religious love literature. Each book is reproduced with critical and bibliographic introductions, translation of the poems and mottos, descriptions of the emblems, and indices to the visual and verbal components of the works.
This study of the ways in which Flemish painting between 1550 and 1650 reflected the burgeoning capitalism of Antwerp, focuses not only on the market-scene paintings, but also on the interaction between painters and markets as it was influenced by merchants, governments and consumers.
Growing up in the docklands of Antwerp in the late nineteenth century, Eugene Van Mieghem watched the comings and goings on the Red Star Line from his parents' cafa across Montevideo Street. His early years coincided with the expansion of Antwerp Harbor and an increasing exodus to the New World. As a child and then a young adult, he spent as much time as he could sketching harbor views and portraits of the people around him, often in the midst of those historic departures. Antwerp-New York intermixes that work with historical material to create a moving profile of the massive movement of humanity that brought 3 million people past Van Mieghem's doorstep and over the Atlantic to New York.
A tense, thrilling, morally murky read, set in Nazi-occupied Antwerp and inspired by the author's own family history of collaboration during WWII It is 1941, and Antwerp is in the grip of Nazi occupation. Young policeman Wilfried Wils has no intention of being a hero - but war has a way of catching up with people. When his idealistic best friend draws him into the growing resistance movement, and an SS commander tries to force him into collaborating, Wilfried's loyalties become horribly, fatally torn. As the beatings, destruction and round-ups intensify across the city, he is forced into an act that will have consequences he could never have imagined. Will asks what any of us would risk to fight evil.
This book analyzes the ways in which Amsterdam, Antwerp and Hamburg developed dual identities as 'communities of commerce' and republics.
Emblem books--books containing pictorial representations whose symbolic meaning is expressed in words--were produced in great quantities and in numerous languages during the sixteenth and seventeenth centuries. Because literary critics and art historians increasingly recognize the importance of the emblem in Renaissance and Baroque studies, this book answers the need for a bibliography listing the locations of all known emblem books in Spanish, as well as those translated into Spanish, written by Spaniards in other languages, and polyglot editions that contain a Spanish text. Covered in this bibliography are all emblem books published from the beginning to the end of the Spanish Golden Age, as well as a wide range of secondary sources on relevant subjects, among them mythography, paradoxography, numismatics, fetes, funerals, proverbs, apothegms, antiquarianism, collecting, and pertinent studies in art history and architecture. Providing call numbers for library locations, information on facsimile reprints, and microform editions, the work is extensively indexed--by date and place of publication, by printers and booksellers, by authors and artists, and by dedicatees, as well as by subject.
This book provides, for the first time, an exhaustive discussion of the Franciscan production of texts of religious instruction during the later medieval period (c. 1210-c. 1550). In eight chapters, it introduces the reader to the most important Franciscan sermon cycles, the Franciscan guidelines for living the life of evangelical perfection, the many Franciscan novice training manuals, the Franciscan catechisms and confession manuals, the Franciscan output of liturgical handbooks, the large number of Franciscan texts containing more wide-ranging forms of religious edification, and Franciscan prayer guides. This book provides medievalists and Renaissance scholars alike with a new tool to assess the intellectual and religious transformations between the thirteenth and the sixteenth century, and contributes to the current re-interpretation of the late medieval pastoral revolution.