Frank Wynne

Frank Wynne was born in 1962 and grew up in Strandhill, Co. Sligo. His father - with T R Henn and others - was among the founding members of the Yeats Summer School in Sligo in 1959, and was President of the school until his death. Through the Summer School, Wynne was introduced to literary figures (whose lectures he recorded with a tape recorder), among them Richard Ellmann and Seamus HeaneyHe was raised "in the dark depths [of] Irish Catholicism". Apart from the summer school, he describes his childhood as a standard 1970's Irish childhood, of "single-channel television. Pop radio was Luxembourg [radio], which came through faintly at night through the static. The first gig I saw was Eric Clapton at the Baymount hotel when I was 14." He attended Sligo Grammar School and later Trinity College Dublin, where he read English and Philosophy, although he left after two years. It was in Dublin that he first connected with the gay scene, through the Hirschfeld Centre. He also began working the graveyard shift on Chris Carey's pirate radio station Radio Nova.Comic book yearsIn 1984 he moved to Paris, where he stayed for three years. He moved to London in 1987, at first managing a small French bookshop in Kensington, which sold, among other things, graphic novels. Wynne became involved in the bandes dessinées movement in London and was hired to work on Revolver. From there he moved to Crisis before becoming managing editor of Deadline magazine, home of Tank Girl.AOL and subsequent literary careerAfter the demise of Deadline in 1994-5, in part through the badly received film version of Tank Girl, he worked for a time as editorial director of AOL UK."I was employee number seven in AOL UK. I went from being the youngest person in every company I had worked for to being the second-oldest person in AOL.”After he left AOL, he began translating the works of Michel Houellebecq. He now dedicates his time fully to writing and translations.He describes himself as being of "no fixed abode", having lived and travelled widely in Central and South America, the Netherlands, Hungary, Turkey, Ireland and the UK.He has worked as a literary translator for many years translating the novels of Michel Houellebecq. He jointly won the International IMPAC Dublin Literary Award with Houellebecq for Atomised, his translation of Les Particules élémentaires. He has subsequently translated Houellebecq's novels Platform and Lanzarote, together with novels by Pierre Mérot, Frédéric Beigbeder and the late Ivoirian novelist Ahmadou Kourouma.His translation of Frédéric Beigbeder's Windows on the World, a novel set in the twin towers of the World Trade Center in New York during the September 11, 2001 attacks, won the 2005 Independent Foreign Fiction Prize. He also won the 2008 Scott Moncrieff Translation Prize for his translations of Beigbeder's Holiday in a Coma and Love Lasts Three Years.Wynne also translated a number of French bandes dessinées, including graphic novels by Enki Bilal, Lorenzo Mattotti, Max Cabanes and Édika.His first non-fiction book, I Was Vermeer, a biography of Han van Meegeren was published by Bloomsbury in August 2006. Between 1938 and 1944 van Meegeren forged seven paintings, passing them off as lost masterpieces by Vermeer. The works were authenticated by some of the finest art critics in Europe, among them Abraham Bredius, who acclaimed Van Meegeren's forgery The Supper at Emmaus as "one of - I would go so far as to say * the* masterpiece by Johannes Vermeer of Delft". Wynne's biography, I was Vermeer has been serialised as the BBC Radio 4 "Book of the Week" (read by Anton Lesser) for August 7–12, 2006.

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Александр Малининidézettelőző év
hatever women do, someone feels obliged to prove that we’ve gone about it the wrong way. There is no correct response, whatever choice we make is necessarily wrong, and we are blamed for a failure that is, in fact, collective and involves both men and women.
Александр Малининidézett10 hónappal ezelőtt
hese days, we hear men bitching that women’s liberation is emasculating them. They yearn for a status quo ante, when their power was rooted in the oppression of women. They forget that the political advantages they enjoyed always came at a cost: women’s bodies belonged to men only inasmuch as men’s bodies belonged to the means of production in peacetime, and to the state in time of war. The expropriation of the female body coincided with the expropriation of the male body.
Александр Малининidézett10 hónappal ezelőtt
Men vehemently denounce social or racial injustices, but are tolerant and understanding when it comes to macho bigotry. Many of them feel obliged to explain that the feminist struggle is secondary, a hobby for the rich, that is neither significant nor urgent. You’d have to be a complete fuckwit, or deeply dishonest, to consider one form of oppression intolerable and another deeply poetic.
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