Posts Tagged ‘Albert Camus’
August 5, 2015 | by Donald Breckenridge
Emmanuel Bove’s fiction captures “a well-trodden and forever alienating Paris.”
Emmanuel Bove was a master of hyperobjectivity. His characters, drawn from all classes, are often paralyzed by a failure of will, poisoned by envy, cursed with bad luck or betrayal. With relentless clarity, Bove imparts a deeply felt and lasting impression of the lives of these solitary and emotionally shattered young men whose fortunes and futures hinge on a stroke of luck, an immoral act, an accident. The author’s own youth was a harsh one, characterized by instability and discord; and yet, like the lives of his characters, it was occasionally graced by wealth and privilege. Born in Paris, in 1898, Bove was the son of a Belgian-born housemaid, Henriette Michels, and an immigrant Ukrainian Jew, Emmanuel Bobovnikoff. Bove’s father was a largely absent womanizer whose financial contributions to the family were infrequent at best. Bove and his brother, Léon, lived in abject poverty with their mother, who moved frequently within the slums of Paris to find work, always shadowed by bill collectors. However, Bove’s childhood took a decisive turn when his father’s affair with Emily Overweg, a wealthy painter and the daughter of the British consul in Shanghai, led to an unlikely marriage. Sent to live with his father and stepmother, Bove experienced the twilight of Belle-Epoque opulence, while Léon, who would become a doctor, remained with his mother in an unforgiving cycle of grinding poverty. And like the fleeting encounters with fortune that Bove employed in his fiction, this unexpected stretch of good luck would not last. Read More »
June 5, 2015 | by The Paris Review
In 1965, Linda Rosenkrantz summered in East Hampton—as one does, I guess—and had the good sense to bring a tape recorder with her. On the beach, she logged hours of her banal, brilliant conversations with two friends; in 1968 she published the transcripts as a novel, Talk, to be reissued next month. In many ways the book is as exasperating as you’d expect: Linda and her friends, all approaching thirty, seldom entertain thoughts beyond themselves or their coterie. They gossip about fucking and psychoanalysis; pubic dandruff is among their more elevated concerns. And there are moments when you can hear them ham it up for their imaginary audience, affecting even more weariness, intellect, and neurosis than they’ve already claimed. But who cares? Even at its most vapid, Talk captivates: it’s funny, honest, and not infrequently heartbreaking, and it still feels weirdly provocative almost fifty years later. The dialogue captures the sun-brained rhythm of beach talk better than anything I’ve read. —Dan Piepenbring
Amelia Gray’s last novel, Threats, was a weird and wonderful book set on the outskirts of reality. Her new story collection, Gutshot, is an episodic version of the same strange locale, one populated by a convulsive puker, a Brobdingnagian snake, and a couple who trap a woman in the air ducts of their house. It’s a place where “the sun beats the shit out of a dirty road called Raton Pass [and] the closet thing to a pair of matching earrings is a guy named Carl who punches you in the head with his fist.” The characters are all misfits of one kind or another, and they are dedicated to their stories even when they don’t seem to want to be a part of them. The title story (my favorite) reads like a shaggy-dog story, except that the ending is unexpectedly moving and meaningful. The membrane between Gray’s stories and our reality is often thin; it's sometimes breached by a pinhole, as in “Viscera,” in which the skin flakes and spittle of a paper-factory employee drift into the pulp, “baking the genetic evidence of his future heart disease into this very page, which you are touching with your hands.” —Nicole Rudick
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February 13, 2015 | by Dan Piepenbring
- Authenticity: Do you have it? Do your favorite writers have it? Has any individual in the history of humankind had it? “What do we mean by authenticity? Since we can hardly ask for documentary accuracy from fiction, what is it exactly we’re looking for? … All Dickens is packed with orphans or people in uncertain relation to family groups, or clubs. It’s impossible to read anything he wrote without feeling that the question of belonging was a major issue for him … Whether or not we like the books and quite regardless of any verisimilitude, it’s clear that the author is writing directly from his personal concerns.”
- The Earl of Rochester wrote directly from his personal concerns, too. Those concerns included dildos, premature ejaculation, drunkenness, and scatology. He was very authentic.
- And Camus, who had a few questions of his own about this sort of thing, is perhaps more relevant than ever today, in no small part because of the Arab Spring: “For the many Americans who grew up with ‘The Guest’ and The Stranger, what lies ahead is a literary, political, and cinematic revival of a writer whose work has found new urgency in the embers of the Arab Spring. For readers and writers throughout the world, Camus remains an open book.”
- While we’re questioning some of the basic tenets of writing—what do writers owe their subjects? “Do we have the right to tell their stories at all? Such complications become even more vivid when we consider them through the lens of privilege: the privilege of the storyteller to control or shape the narrative.”
- Maybe it’s easiest to circumvent these questions by trusting the state to tell us which stories are okay to tell. They know what they’re doing! That’s why a Tennessee lawmaker is moving to make the Bible his state’s official book. It’s a classic, after all.
January 11, 2012 | by Chris Wallace
Graham Greene stole the title of my memoirs. Rueful and proud, ringing of a boastful confession, imaginary maps, and the magician’s exegesis, his Ways of Escape would have been a perfect header for my career of flight—from reality, relationships, and, finally, the country. It is a series of escapes in which Mister Greene, who made so seductive the life of an exiled libertine, is not entirely innocent.
But he needn’t take all the blame. At least part of the credit for my fleet-footedness is due to a childhood spent shunting between single parents and rival school districts (or is it the other way around?). I was always arriving, never staying too long, and, with another departure constantly looming, my relationship to home became abstracted to fungible goods, dispassionate.
As an only child, I spent a lot of time by myself. But I never ran with imaginary friends, opting instead to invent imaginary versions of myself. I dreamed constantly of flying (by mastering the basketball double pump), climbed ficus trees, and read Dragonlance books. Their rogues and wizards enchanted me, wandering far from their homes, always in search of a tree city called Solace.
In the fifth grade, I asked the girl I was crazy about to go steady with me, only to call back five minutes later to explain that I’d had too many Jolly Ranchers, and, unfortunately, it was over between us. I’ve left every relationship since—be it of five months or five years—in a similar fashion. It really isn’t them. It’s me, and I have to leave all that I know to get rid of him, to start over. Like a writer in the movies, with a pile of crumpled paper in the bin beside him, I am forever beginning anew. This next draft is going to be the keeper—the real me.
Meanwhile, I’ve inherited my father’s method for home improvement: moving. At the end of my chapters I pull up stakes like a fugitive and purge everything, from beds to furniture to collectibles and clothing. A stack of my first-edition Gavin Lambert books now lives in a baby nursery in Culver City, an espresso maker is in Echo Park, and a few dozen ties are reentering circulation from an Out of the Closet on Fairfax.
Jobs are no different. At least four times I’ve gone home from a day’s work without a word, never to return. I’ve left schools, left my position as starting quarterback for a college football team, and left this piece a half dozen times. My distinguishing feature is a pair of taillights. Read More »
September 12, 2011 | by Caleb Crain
Soderbergh’s movie is scored to a similar drumbeat of numbers. Five dead in London. Three dead in Tokyo. Eighty-nine thousand cases worldwide. Eight million cases worldwide. The human mind can’t really make emotional sense of such numbers, of course, and for that Soderbergh turns to interwoven vignettes of the sort familiar from movies like Traffic and Crash. With such dismaying material, the artist’s challenge is how to make it real but not too real. If the deaths seem too real, sorrow will overwhelm viewers. (This is probably why John Lithgow’s performance of Alzheimer’s is so halfhearted in Rise of the Planet of the Apes. If anyone in your family has ever had Alzheimer’s, the last thing you want to see in a sci-fi romp is realism.) Read More »