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When Auden and MacNeice travelled in Iceland together in 1936, the verse, prose, letters and notes they recorded would appear the following year as 'Letters from Iceland'.
Two of the brightest young poets of our day follow in the footsteps of W.H. Auden and Louis MacNeice. Auden and MacNeice's Letters from Iceland was more than a brilliant and unconventional travel book; it was one of the great works of the 1930s which defined for its own and later generations the precise nature and feeling of that troubled time.With characteristic boldness, Simon Armitage and Glyn Maxwell, staunch admirers of the two older poets, set off in 1994 to discover what Iceland, with its unique geography and ancient political institutions, might have to say to us now. Their findings, delivered in an appropriate mixture of poetry and prose, reportage and imaginative elaboration, vividly reflect the concerns of our own age, and will instruct and amuse readers in equal measure.
The debut from rising star chef Gísli Matt of Slippurinn, the international destination restaurant in Iceland's Westman Islands Chef Gísli Matt built Slippurinn with his family in a historic shipyard building of a small town whose landscape was changed forever by the lava flow from a 1973 erupted volcano. In this most incredible environment, where plants grow on mountains created out of lava, Matt created a menu that both respects the local and traditional and pushes boundaries of contemporary cuisine. His first book takes the reader right to the heart of Matt's fascinating culinary world and island life.
A seventeenth-century minister tells his story of abduction by pirates, and a solo journey from Algiers to Copenhagen, in this remarkable historical text. In summer 1627, Barbary corsairs raided Iceland, killing dozens and abducting almost four hundred people to sell into slavery in Algiers. Among those taken was Lutheran minister Olafur Egilsson. Reverend Olafur—born in the same year as William Shakespeare and Galileo Galilei—wrote The Travels to chronicle his experiences both as a captive and as a traveler across Europe as he journeyed alone from Algiers to Copenhagen in an attempt to raise funds to ransom the Icelandic captives that remained behind. He was a keen observer, and the narrative is filled with a wealth of detail―social, political, economic, religious―about both the Maghreb and Europe. It is also a moving story on the human level: We witness a man enduring great personal tragedy and struggling to reconcile such calamity with his understanding of God. The Travels is the first-ever English translation of the Icelandic text. Until now, the corsair raid on Iceland has remained largely unknown in the English-speaking world. To give a clearer sense of the extraordinary events connected with that raid, this edition of The Travels includes not only Reverend Olafur’s first-person narrative but also a collection of contemporary letters describing both the events of the raid itself and the conditions under which the enslaved Icelanders lived. Also included are appendices containing background information on the cities of Algiers and Salé in the seventeenth century, on Iceland in the seventeenth century, on the manuscripts accessed for the translation, and on the book’s early modern European context.
Written between August and December 1938, this poem is a record of MacNeice's emotional and intellectual experience during those months. The trivia of everyday living is set against events in the world outside - the settlement in Munich and slow defeat in Spain.
From the acclaimed Nobel Prize winner: At the close of the 17th century, Iceland is an oppressed Danish colony, suffering under extreme poverty, famine, and plague. A farmer and accused cord-thief named Jon Hreggvidsson makes a bawdy joke about the Danish king and soon after finds himself a fugitive charged with the murder of the king’s hangman. In the years that follow, the hapless but resilient rogue Hreggvidsson becomes a pawn entangled in political and personal conflicts playing out on a far grander scale. Chief among these is the star-crossed love affair between Snaefridur, known as “Iceland’s Sun,” a beautiful, headstrong young noblewoman, and Arnas Arnaeus, the king’s antiquarian, an aristocrat whose worldly manner conceals a fierce devotion to his downtrodden countrymen. As their personal struggle plays itself out on an international stage, Laxness creates a Dickensian canvas of heroism and venality, violence and tragedy, charged with narrative enchantment on every page. Sometimes grim, sometimes uproarious, and always captivating, Iceland's Ball is at once an updating of the traditional Icelandic saga and a caustic social satire.
Icelandic is one of the oldest and most complex languages in the world. In this book, Alda Sigmundsdóttir looks at the Icelandic language with wit and humor, and how it reflects the heart and soul of the Icelandic people and their culture. Many of the Icelanders' idioms and proverbs, their meaning, and origins are discussed, as is the Icelanders' love for their language and their attempts to keep it pure through the ongoing construction of new words and terminology. There is a section on Icelandic curse words as well as Icelandic slang, which is mostly derived from English. Throughout, this book deconstructs Icelandic vocabulary, and the often-hilarious, almost naive, ways in which words are made. Among the fascinating topics broached in The Little Book of Icelandic: • The Language Committee: how Icelanders struggle to keep their language “pure” • Let's make a word!—How names for new things are constructed • Old letters, strange sounds: wrapping your tongue around the Icelanders’ tongue • $#*!%&!“#$%*, or how Icelanders curse • The missing dialects—why Icelandic has none • Which is the prettiest of all: contests to find the most lovely word in Icelandic (and the ugliest!) • Quintessential Icelandic words and phrases (the ones that describe the Icelanders like no others) • Useful phrases to impress your new Icelandic friends! • Klósett—the unexpected origin of the Icelandic word for toilet ... and so much more! This is a must-read book for anyone interested in the Icelandic people, their culture—and of course their language. Excerpt "Idioms and proverbs provide a unique insight into the soul of a nation. They say so much about a people’s history—the heartfelt, the tragic, the monumental, the proud. Icelandic has a vast number of idioms and proverbs that are a direct throwback to our nation’s past, especially idioms relating to the ocean, which is such a massive force in our nation's history. Many of them we use all the time without ever giving a thought to their origins. What follows is a random sampling—I hope you enjoy reading about them as much as I did. — Idiom: Eins og skrattinn úr sauðaleggnum Translation: Like Satan out of the sheep’s leg bone Meaning: Unexpectedly, out of the blue If someone suddenly appeared, especially someone I didn’t really want to see, I might say hann kom eins og skrattinn úr sauðaleggnum, literally “he appeared like Satan out of the sheep’s leg bone”. Where the affiliation between a sheep’s leg bone and the prince of darkness comes in I could not tell you. However, I can tell you that, in the old days, Icelandic children (being impoverished and everything) had no proper toys. Instead, they played with sheeps’ bones, each of which was assigned a role. The jawbones were the cows, the joints of the legs were the sheep, and the leg bones were the horses. So maybe folks were worried that Satan—being the crafty bugger that he was—would install himself in a sheeps’ leg bone when the kids were playing and then suddenly BOO! pop out and scare the bejeezus out of them. It’s just a theory. Incidentally, the use of this idiom is not confined to people—it is also successfully used to comment on unwanted happenings, as in: “Damn, this huge phone bill comes like Satan out of a sheep’s leg bone!”
Set against Iceland's stark landscape, Hannah Kent brings to vivid life the story of Agnes, who, charged with the brutal murder of her former master, is sent to an isolated farm to await execution. Set against Iceland's stark landscape, Hannah Kent brings to vivid life the story of Agnes, who, charged with the brutal murder of her former master, is sent to an isolated farm to await execution. Horrified at the prospect of housing a convicted murderer, the family at first avoids Agnes. Only Tv=ti, a priest Agnes has mysteriously chosen to be her spiritual guardian, seeks to understand her. But as Agnes's death looms, the farmer's wife and their daughters learn there is another side to the sensational story they've heard. Riveting and rich with lyricism, Burial Rites evokes a dramatic existence in a distant time and place, and asks the question, how can one woman hope to endure when her life depends upon the stories told by others?
“Will appeal to readers of Elena Ferrante and Margaret Atwood . . . the unusual setting offers an interesting twist on the portrait of an artist as a young woman.” —Bookpage In 1960s Iceland, Hekla dreams of being a writer. In a nation of poets, where each household proudly displays leatherbound volumes of the Sagas, and there are more writers per capita than anywhere else in the world, there is only one problem: she is a woman. After packing her few belongings, including James Joyces’s Ulysses and a Remington typewriter, Hekla heads for Reykjavik with a manuscript buried in her bags. She moves in with her friend Jon, a gay man who longs to work in the theatre, but can only find dangerous, backbreaking work on fishing trawlers. Hekla’s opportunities are equally limited: marriage and babies, or her job as a waitress, in which harassment from customers is part of the daily grind. The two friends feel completely out of place in a small and conservative world. And yet that world is changing: JFK is shot. Hemlines are rising. In Iceland, another volcano erupts and Hekla meets a poet who brings to light harsh realities about her art—as she realizes she must escape to find freedom abroad, whatever the cost. Miss Iceland, a winner of two international book awards, comes from the acclaimed author of Hotel Silence, which received the Icelandic Literary Prize. “Only a great book can make you feel you’re really there, a thousand miles and a generation away. I loved it.” —Kit de Waal, author of My Name is Leon “[A] winning tale of friendship and self-fulfillment.” —Publishers Weekly, starred review
The Canadian first lady of Iceland pens a book about why this tiny nation is leading the charge in gender equality, in the vein of The Moment of Lift. Iceland is the best place on earth to be a woman—but why? For the past twelve years, the World Economic Forum’s Global Gender Gap Report has ranked Iceland number one on its list of countries closing the gap in equality between men and women. What is it about Iceland that enables its society to make such meaningful progress in this ongoing battle, from electing the world’s first female president to passing legislation specifically designed to help even the playing field at work and at home? The answer is found in the country’s sprakkar, an ancient Icelandic word meaning extraordinary or outstanding women. Eliza Reid—Canadian born and raised, and now first lady of Iceland—examines her adopted homeland’s attitude toward women: the deep-seated cultural sense of fairness, the influence of current and historical role models, and, crucially, the areas where Iceland still has room for improvement. Throughout, she interviews dozens of sprakkar to tell their inspirational stories, and expertly weaves in her own experiences as an immigrant from small-town Canada. The result is an illuminating discussion of what it means to move through the world as a woman and how the rules of society play more of a role in who we view as equal than we may understand. What makes many women’s experiences there so positive? And what can we learn about fairness to benefit our society? Like influential and progressive first ladies Eleanor Roosevelt, Hillary Rodham Clinton, and Michelle Obama, Reid uses her platform to bring the best of her nation to the world. Secrets of the Sprakkar is a powerful and atmospheric portrait of a tiny country that could lead the way forward for us all.