Тим Паркс – лучшие произведения

The best-selling author of Italian Neighbors returns with a wry and revealing portrait of Italian life―by riding its trains. Tim Parks’s books on Italy have been hailed as "so vivid, so packed with delectable details, [they] serve as a more than decent substitute for the real thing" (Los Angeles Times Book Review). Now, in his first Italian travelogue in a decade, he delivers a charming and funny portrait of Italian ways by riding its trains from Verona to Milan, Rome to Palermo, and right down to the heel of Italy.
Parks begins as any traveler might: "A train is a train is a train, isn’t it?" But soon he turns his novelist’s eye to the details, and as he journeys through majestic Milano Centrale station or on the newest high-speed rail line, he delivers a uniquely insightful portrait of Italy. Through memorable encounters with ordinary Italians―conductors and ticket collectors, priests and prostitutes, scholars and lovers, gypsies and immigrants―Parks captures what makes Italian life distinctive: an obsession with speed but an acceptance of slower, older ways; a blind eye toward brutal architecture amid grand monuments; and an undying love of a good argument and the perfect cappuccino. Italian Ways also explores how trains helped build Italy and how their development reflects Italians’ sense of themselves from Garibaldi to Mussolini to Berlusconi and beyond. Most of all, Italian Ways is an entertaining attempt to capture the essence of modern Italy. As Parks writes, "To see the country by train is to consider the crux of the essential Italian dilemma: Is Italy part of the modern world, or not?"

How have the modern world, technology and our addiction to information changed who we are? What effect does it have on our relationships, minds and bodies? What can the simple act of sitting still teach us about ourselves?
When Tim Parks fails to find a cause for his crippling chronic pain, he turns to meditation. This is, however, not your average self-help book or conversion story; instead, it is a refreshingly honest and profoundly moving introspection of one writer and his quest to overcome the inner battle between mind and body. A revelatory read with delightful cultural and literary references, Teach us to Sit Still by Booker-shortlisted author Tim Parks examines how the philosophy of 'sit still, relax and stop worrying' can be profoundly life-altering.

The Novel: A Survival Skill is the fruit of a lifetime's search for a different, more immediate, but again systematic and serious way of talking about literature. Developed over many years, it offers a completely new account of the relationship between a writer, his or her work, and the reader. As such it radically undermines traditional literary criticism and the various criteria used for evaluating a work of fiction. Drawing on ideas from systemic psychology, Tim Parks suggests that both the content and style of a novelist's work, the kind of stories told and the way in which they are told, form part of a more general strategy or simply habit of communication that the novelist has learned within his or her family of origin. The reader reacts to these in very much the same way he or she would react to the same communicative strategy in a real life encounter, different readers reacting differently depending on their own backgrounds and habits of communication. Looking at the different value structures that can dominate in any family--good/evil, independence/dependence, success/failure, belonging/exclusion--this book looks at how a number of major writers position themselves within these value structures, how this positioning is manifest in their writing, and how readers have responded to this depending on their own positioning in the same semantics. Thomas Hardy, for example, a man eager to believe himself courageous but terrified of the consequences of any socially "unacceptable" behavior, constructs stories which are courageous in their willingness to debate difficult issues, but which constantly suggest that any attempt to behave courageously is condemned to disaster. Hardy, as it were, imprisons himself in a world where it is folly to take risks. He is thus exceedingly conservative in his life, while at the same time able to think of himself as courageous in his writing. The Novel: A Survival Skill looks at the way different readers in different periods respond to this depending on their own position with regard to fear, courage, social convention and so on.

Arising from a dissatisfaction with blandly general or abstrusely theoretical approaches to translation, this book sets out to show, through detailed and lively analysis, what it really means to translate literary style. Combining linguistic and lit crit approaches, it proceeds through a series of interconnected chapters to analyse translations of the works of D.H. Lawrence, Virginia Woolf, James Joyce, Samuel Beckett, Henry Green and Barbara Pym. Each chapter thus becomes an illuminating critical essay on the author concerned, showing how divergences between original and translation tend to be of a different kind for each author depending on the nature of his or her inspiration. This new and thoroughly revised edition introduces a system of 'back translation' that now makes Tim Parks' highly-praised book reader friendly even for those with little or no Italian. An entirely new final chapter considers the profound effects that globalization and the search for an immediate international readership is having on both literary translation and literature itself.

Is my experience real?
Or just a movie in my head?
Am I no more than a super computer?
You are your brain, neuroscientists tell us. Everything happens in there. Yet even the most sophisticated brain scan cannot tell us who we are. Nothing in our neurons remotely suggests the rich nature of our experience, the colours, sounds and smells that make up our lives.
When Tim Parks came across a radical new theory of consciousness, he set on a quest that moves through one sparkling encounter after another to arrive at the deepest of questions: what stuff exactly is consciousness made of? And where is it? Inside or out?

Thomas needs to speak to his mother before she dies.
But he's set to give a talk to a conference of physiotherapists in the Netherlands; if he leaves now will he get to her deathbed in time?
Will he be able to say what he couldn't say before? He can't concentrate on what is happening now: his mind won't sit still. Should he try to solve his friend's marital crisis? Should he reconsider his separation from his own wife? And why does he need to pee again?
In Extremis is Tim Parks's masterwork: a darkly hilarious and deadly serious novel about infidelity, mortality and the frailties of the human body.

Why do we need fiction? Why do books need to be printed on paper, copyrighted, read to the finish? Do we read to challenge our vision of the world or to confirm it? Has novel writing turned into a job like any other? In Where I’m Reading From, the novelist and critic Tim Parks ranges over decades of critical reading—from Leopardi, Dickens, and Chekhov, to Virginia Woolf, D. H. Lawrence, and Thomas Bernhard, and on to contemporary work by Peter Stamm, Alice Munro, and many others—to upend our assumptions about literature and its purpose. In thirty-seven interlocking essays, Where I’m Reading From examines the rise of the “international”…

Is Italy a united country, or a loose affiliation of warring states? Is Italian football a sport, or an ill-disguised protraction of ancient enmities?
Tim Parks goes on the road to follow the fortunes of Hellas Verona football club, to pay a different kind of visit to some of the world's most beautiful cities. This is a highly personal account of one man's relationship with a country, its people and its national sport. A book that combines the pleasures of travel writing with a profound