Posts Tagged ‘Carson McCullers’
February 8, 2013 | by The Paris Review
If you’re going to judge a book by its endpapers, then I recommend Julie Morstad’s The Wayside. I’ve spent a fair amount of time imagining them on the walls of the drawing room I don’t have. It helps that the rest of the book—all new drawings by the Canadian illustrator—is equal parts charming and strange. There’s definitely an Edward Gorey–esque feel to her work, but I also see occasional hints of William Pène du Bois (in a troupe of women acrobats) and Amy Cutler (in the wonderful patterned textiles). I think my favorite drawing may be a double gatefold depicting groups of flatly rendered performing-arts kids doing their thing. It’s Attic form meets Fame. —Nicole Rudick
In the early fifties, a married Cuban socialite has an epistolary romance with a dashing political prisoner. They meet for one night, and the woman bears his child. Meanwhile the young man, freed from prison, seizes command of the struggle against Batista and becomes ruler of their country. It sounds (and reads) like a novel, but Havana Dreams, Wendy Gimbel’s 1998 portrait of Naty Revuelta and her daughter Alina, is a work of intimate reportage, and the relationship of these two women to Fidel Castro takes on an uncanny symbolic weight. The book invaded my own dreams. —Lorin Stein Read More »
May 7, 2012 | by Sadie Stein
March 20, 2012 | by Sam Stephenson
From 1993 to 1995 I stumbled in two graduate programs, first economics and then religious studies. I was undone by advanced calculus and cultural theory—couldn’t handle the rigor of either, the puzzle of value unsolved. The abstract challenges of school were leavened by my job at Quail Ridge Books, an independent store in Raleigh. There, I shelved hardbacks and backlist paperbacks by Baldwin, Banks, Berger, (Amy) Bloom, Boland, Gass, Grumbach, Gurganus, Le Guin, L’Engle, Malamud, McCarthy, Mitchell, Munro, Walker, Wideman, (C.D.) Wright, (Charles) Wright, (Richard) Wright; I managed the magazines and literary journals, worked the cash register, and made friends with the customers.
I met the late Don Adcock there. A jazz flute player and the longtime band director at North Carolina State University, he first heard bebop in 1945 when he stepped off a battleship in San Francisco and wandered into a joint where Howard McGhee was playing. Fifty years later he would walk into the store and instantly identify whichever jazz musicians were playing on the house stereo—Tommy Flanagan, Hank Jones, Al Haig, Dexter Gordon, Zoot Sims, Lee Morgan, Bunny Berigan—and he knew all the songs, too. He often visited the store with his wife, the poet Betty Adcock, who taught at the local Meredith College as well as at Warren Wilson. Don and Betty became critical sources of encouragement for me as my writing developed, and I spent many afternoons at their Raleigh home—a modern, postwar structure with a flat roof surrounded by heavy woods.Read More »
October 19, 2011 | by José Manuel Prieto
In the spring of 2007, I was invited to a dinner organized by The Paris Review in honor of Norman Mailer. The novelist had just published what would be his last novel, The Castle in the Forest, and would have a conversation with E. L. Doctorow. That evening, when Mailer entered the room, with his very distinctive mien—that of a rather solid and stout man who, because of his age, used two canes—I was deeply moved. I told him—what else do you say in those circumstances?—how much I admired his books and that I started reading them when I was very young, many years ago.
A few days later I told a friend about this experience. “But, how?” he acted surprised, “Did you read Norman Mailer in Cuba?” And added, “Wasn’t he supposed to be one of the banned North American authors on the island?”
My friend had imagined, perhaps for a good reason, that you couldn’t find American literature in Cuba, that it was banned because both countries were at more or less declared war, an openly proclaimed enmity. I patiently explained to him that nothing like this ever happened. Mailer’s books and those of many other North American authors were not censured in Cuba; in fact, they were widely sold. You could find them in every library; they could be read by everyone. Read More »
August 26, 2011 | by Sadie Stein
I would like to know how to find jobs writing, as someone very new to the field. I am unsure where to start looking. Some ads just look like scams to me.
We received two queries on starting out as a writer this week, as it happens—maybe it’s the time of year? I always think of “back-to-school” as a much more logical starting point for new ventures than January 1, personally. But to answer your question, to the extent that that is possible in a few short paragraphs? First of all, the necessary warnings. Making your living as a writer is hard. Obvious, maybe, but it bears repeating. My parents—and for that matter, my grandfather—wrote for a living, and stable isn’t exactly the word that comes to mind when discussing my childhood. I often think that if I had any other marketable skills, I’d do something else. And keep in mind that many of the great writers in history have done so while holding down day jobs. I’m sure the structure of regular employment—not to mention the financial security—is a real help to many.
But if you are serious about writing professionally, in any capacity, the best advice anyone can give you is to write, and as much as possible. Which is not to say you should go for any “gig” advertised on Craigslist; you’re right to be wary. People have different views on blogs. In my case, I found keeping a personal blog to be useful both in developing a voice and in forcing myself to be accountable to a readership, even if that readership was just my grandmother. I’d add the caveat, though, that you want to be careful what you put out there—this writing, as much as anything in your clips file, will define you both professionally and personally. For the pitch, think of interesting takes on things that genuinely engage you. Don’t be shy. Familiarize yourself with publications and Web sites and get to know their tones. Not everyone can pay much; that doesn’t mean it’s not a worthwhile clip. Ask questions. Go to readings. Talk to everyone you meet. Keep in mind that there’s no shame in striking out—and you will—and that no rejection feels as bad as the knowledge that you haven’t tried.
What are some of your favorite author twitters?
I think we can all agree that the best writers don’t always make the best twitterers, and vice versa, but there are a few who have mastered both genres. (Is Twitter a genre? I’m afraid it might be.) Polymath Wil Wheaton—as one might expect from someone who exercises such economy of characters in the spelling of his own first name—is a Twitter star for a reason. Ditto the ever-entertaining Stephen Fry. Maud Newton is necessary reading for the reader. And Shakespeare (@WillShake) isn’t half-stepping, either.
Who is your literary style icon?
Fictionally speaking, I’ve definitely gone through phases where certain characters exerted undue influence. I’m no particular lover of Hemingway, but who wouldn’t be seduced by this description of Lady Brett Ashley: “She wore a slipover jersey sweater and a tweed skirt, and her hair was brushed back like a boy’s. She started all that. She was built with curves like the hull of a racing yacht, and you missed none of it with that wool jersey.” Oh, and she also sports a fedora. (Not recommended for an undersized sixteen-year-old, in case the younger me is reading this.) If we’re talking literary figures beyond the page, the list gets even longer: Carson McCullers, Barbara Pym, and my personal inspiration for the years 2003 to 2005, Sylvia Beach.
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