Posts Tagged ‘Anaïs Nin’
June 11, 2014 | by Nicole Rudick
Toward the end of college and for several years after, I kept two postcard photographs taped above my desk: one of Anaïs Nin, the other of Frank O’Hara—the mother and father of my literary interests at the time. Nin was a gateway for me into feminist writing and into thinking about creativity and the self. My love for O’Hara, on the other hand, was ecstatic. I was infatuated—and still am—with the conversational tone of his poetry, the ease with which he moves from Russian novels to bad movies, Robert Frost to Busby Berkeley, Bayreuth to Hackensack; his poems are like letters to a friend, and when I read them, I am that friend.
As collections go, none brings this quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights. It is number nineteen in their Pocket Poets Series, an apt category for poems that O’Hara wrote during hour-long lunch breaks from the Museum of Modern Art in New York, where he was a curator. He roved through midtown, recording the “noisy splintered glare of a Manhattan noon” as well as his “misunderstandings of the eternal questions of life, co-existence and depth,” as O’Hara himself described the volume—“while never forgetting to eat Lunch his favorite meal.” Read More »
December 24, 2013 | by Matthew Erickson
Most people with scholarly inclinations will visit a novelist’s literary archive to follow the paper trails, as manifested through gathered correspondence, stray postcards, marked-upon stationery, and scattered drafts. A couple of months before the recent publication of his collected letters, I visited the William Gaddis Papers at Washington University in Saint Louis in search of something near the polar opposite.
I had harbored a minor obsession with the novelist for years, even before reading a single word of his writing, probably due his reputation as a writer who crafted a string of unapologetically dense works while almost entirely avoiding the fickleness of the literary limelight. I had bought a used hardcover of Carpenter’s Gothic, one of Gaddis’s shorter novels, at a library booksale just after my early-twenties Pynchon obsession had tapered off a bit. That book sat unread on a shelf for a few years until I decided to make the plunge into Gaddis’s work after seeing his specter, both his name and the titles of his books, floating through David Markson’s great anecdote—and allusion-heavy novels.
More dilettante than scholar, I was on the hunt for certain pieces of the novelist’s realia, that archival category of physical, three-dimensional objects rather than the usual rectangular flatland of manuscripts. Gaddis—who wrote “only” five books over the course of a forty-odd-year career (though amounting to around 2,640 pages in total), with each tome encompassing every possible spectrum of American vernacular and obsession; who won a MacArthur Award and two National Book Awards; and who was famous, as Cynthia Ozick once put it, for not being famous enough—had one object in his collection that I had never seen in a library catalog before. I found this particular entry buried deep within the online finding aid for the Gaddis Papers:
“Box 166.2/- : Zebra Skin, (1 item), Stored in oversize; box on order.”
After scanning across this listing while doing cursory research for something else, I instantly became obsessed with the idea of the zebra skin in the library. What, exactly, did it look like? How was it stored among Gaddis’s papers? Why had he owned it? What was it doing in the special collections of an academic library? Read More »
November 1, 2013 | by The Paris Review
In the last month, thanks to some timely advice from Sam Lipsyte in the Oslo airport, I’ve gone back to two books that I could never get through as a kid: Blood Meridian and Sense and Sensibility. Blood Meridian still defeats me, though I got about halfway through. Does every pueblo have to be ruinous, every puddle some shade of crimson? Will the Judge ever shut up about Darwin? The book it keeps comparing itself to is Moby-Dick, but Moby-Dick doesn’t compare itself to anything, and isn’t—or doesn’t feel—anywhere near as long. Sense and Sensibility, on the other hand, was just my speed. The last two pages are so good, I tore them out and pinned the sheet over my desk as a talisman. (The airport paperback had a painting of Spanish Gibson girls on the cover, and had to be thrown away.) —Lorin Stein
First published in 1957, the late Daniel Anselme’s On Leave chronicles one week in the lives of three soldiers, furloughed in Paris. Anselme, a resistance fighter and journalist, interviewed many conscripted men while researching the novel, and its unflinching look at the horrors of the Algerian conflict meant it was initially ignored by critics and never reprinted or translated. A new edition by Faber & Faber brings this “lost novel” to a whole new readership, and that’s a good thing. While it’s not a light or easy read (although David Bellos’s translation is spare and clear), it remains deeply affecting and, needless to say, relevant. —Sadie O. Stein Read More »
February 26, 2013 | by Rhoda Feng
The Grolier Poetry Book Shop in Cambridge, Massachusetts, is both a misnomer and an anomaly. It has long dedicated itself to the task of promoting the reading and writing of poetry and has, for eighty-five years, served as a niche for poets the world over. While its reputation has bloomed over the years, thanks largely to word-of-mouth praise, it has never fared well financially, partly due to competition from larger stores and the Internet, partly because poetry has never been popular with the masses, and partly because its founder seems to have done everything in his power to ensure that his store not be turned into a business.
Located on Plympton Street in Harvard Square, the Grolier occupies just 404 square feet of space and is dwarfed by the neighboring Harvard Book Store. A white square sign with meticulous black lettering juts out near the top of the store entrance. The font size decreases from top to bottom, much like on an eye exam chart, and one can just make out, at the very top, a finely done illustration of three cats (or is it the same cat?) dozing, grooming, and turning their backs on the viewer.
Upon ascending a small flight of steps, one is greeted by the sight of an abundance of colorful spines—approximately fifteen thousand—neatly arranged against nearly every flat surface of the shop. These volumes are neatly balkanized into several categories, including anthologies, used, African-American, early English, Irish, Russian, Chinese, Iranian, Indian, Latin, classical Greek, Japanese, Korean, East European, Spanish, and Catalan.
Above the towering shelves are approximately seventy black and white photos (many courtesy of the photographer Elsa Dorfman) of poets and other members of the literati for whom the Grolier has served as a meeting place for well over half a century. Among the Grolier’s most illustrious visitors, most of whom are smiling or gazing sagely and serenely ahead in the photos, are T. S. Eliot, Robert Lowell, Elizabeth Bishop, e. e. cummings, Marianne Moore, James Tate, Donald Hall, and Helen Vendler.
Off to one side at the front of the store sits a lean shelf of chapbooks and a donation jar; a small note says that the chapbooks have been generously donated by the author and that monetary contributions to the shop would be greatly appreciated. Directly across this bookcase is the cash register, propped up on a desk and flanked by sundry items, including bookmarks, promotional literature, pamphlets, business cards, and commemorative pens. On the wall right adjacent to the register hangs a certificate from Boston Magazine honoring the Grolier as the best poetry store of 1994. Read More »
December 20, 2010 | by Sam Stephenson
Since January 1997, I’ve been studying the life and work of photographer W. Eugene Smith. I was thirty years old when I started, and now I’m forty-four. If this wasn’t my calling, God help me.
In 1998, while researching a freelance magazine assignment on Smith’s 1950s Pittsburgh photographs in his archive at the Center for Creative Photography at the University of Arizona, I stumbled on 1,740 dusty, moldy reels of mysterious tape made in a New York City loft building. What became known as the Jazz Loft Project at Duke’s Center for Documentary Studies, where I worked, began that day.
Smith’s strange, obsessive achievement between 1957 and 1965 in an after-hours jazz haunt in Manhattan’s flower district—forty thousand photos and four thousand hours of audio recordings—spurred me to visit twenty-one states and interview more than four hundred people. I’ve made 115 trips to New York City over a span of time that can be measured by telephones and storefronts: I called Robert Frank from a cold, indestructible pay phone at the end of Bleecker, near CBGB; Roy Haynes on a Motorola StarTAC from a brownstone on 9th Street, a few doors from Balducci’s; and, a few weeks ago, Mary Frank on my iPhone from Spoon in Chelsea.
Smith is often portrayed as a classic midcentury male artist-egotist, and not without reason. But there was something selfless about his work in this old Sixth Avenue loft building. The people that passed through that space—some famous, most obscure—have sustained me all these years. Perhaps it’s this perpetually unfolding documentary quality that makes the loft work his greatest.