The Daily

Posts Tagged ‘classics’

Diary of a Sycophant, and Other News

July 2, 2015 | by

Goebbels in an American caricature, ca. 1943.

  • Proverbs are perfect examples of poetry’s seductiveness—and, in many cases, of its emptiness. “The brain craves ideas that can be understood and remembered without effort … But what happens when memorable advice is bad? ‘To thine own self be true’ is terrible counsel for many people, as Shakespeare himself realized. “If you want something done right, do it yourself” applies only to those things you are already good at … ‘It’s always darkest before the dawn’ can only have been coined by someone who had never stayed up all night.”
  • Robert Frank’s The Americans, “a photographic survey of the inner life of the country,” is sixty, and guess what? It’s still good. “Among the many qualities that enabled Frank to achieve something so ambitious was his profound ambivalence. He was always that way personally, and it was how he could locate the full spectrum of any given feeling in the inscrutable faces of strangers. Critics like W. S. Di Piero believe his genius for expressing emotional complication came from an artistic innocence, the ability to look at the world as a child does—without the intrusions of experience.”
  • Linda Rosenkrantz’s Talk, mentioned previously on the Daily, “documents what has turned out to be a fleeting historical moment: when it was possible to bring a recording device to the beach and not expect that everyone else has done the same.” But is its mode of self-exposure too transparent?
  • Self-exposure of a very different sort can be found in Goebbels’s diaries, which reveal a servile creature completely dedicated to Hitler: “The thoroughly repellent figure that emerges from the diaries is not simply Goebbels as he was in fact. It is Goebbels as he wanted to be. He actively embraced barbarism as a way out from the chaos of his time, and in this he was at one with multitudes of educated Europeans. Viewing him as the victim of a personality disorder is a way of denying a more chilling fact that his life reveals—the perilous fragility of civilization.”
  • Summer’s a great time to read the classics you’ve neglected for so many years, the forbidding volumes of Melville and Joyce peering at you from your shelves. You can also take this as a time to trumpet the fact that you’ll never read those classics … either way, good on you!

The Great Unread

August 26, 2014 | by

Why do some classics continue to fascinate while others gather dust?


An illustration by Attilio Mussino from a 1911 edition of The Adventures of Pinocchio.

Even in our era of blurb inflation, it’s hard to top Giuseppe Verdi’s claim that Alessandro Manzoni’s novel The Betrothed (1827) was “a gift to humanity.” Verdi was hardly alone in praising the author, who ranks second only to Dante in Italian literary history. Manzoni’s contemporaries Goethe and Stendhal celebrated his genius, while the critic Georg Lukács said that The Betrothed was a universal portrait of Italy so complete that it exhausted the genre of the historical novel. In Italy, such is the ubiquity of Manzoni’s novel that Umberto Eco claimed “almost all Italians hate it because they were forced to read it in school.” Manzoni was named senator in 1860 by the Italian government; in his greatest honor, Verdi dedicated his Requiem to him on the one-year anniversary of his death.

So why do few outside of Italy care about Manzoni—or, even more tellingly, why do they care much more about other books, written around the same time as The Betrothed and devoted to themes similar to its own? By comparison, one of the best-selling Italian books of all time is Carlo Collodi’s The Adventures of Pinocchio (1881), the story of a mischievous puppet who dreams of becoming a boy. The scholar Suzanne Stewart-Steinberg has shown that Pinocchio, in his struggle to assert his individuality against the controlling wishes of the outside world, represented the archetypal Italian child in the newly formed nation: the book first appeared twenty years after unification. Similarly, Manzoni’s Betrothed gives us two typical Italian peasants, Renzo and Lucia, who struggle to marry and build a life together amid class inequality, foreign occupation, and church domination.

But here the similarities end: Manzoni’s novel promotes a Christian faith whose adherents are rewarded for submitting to God’s providential wisdom. Collodi’s story, beyond exploring the plight of Italians in their newborn nation, describes how children learn to make their way in an adult society, with all its strictures and codes of behavior. Manzoni’s legacy in Italy is so strong that his book will always be read there. But outside of Italy, those same readers curious about Collodi’s star-crossed puppet are likely never to give Manzoni’s thoroughly Christian universe a second thought. Read More »


Martin Amis Owes Everything to His “Wicked Stepmother,” and Other News

January 6, 2014 | by


Photography: Maximilian Schönherr, via Wikimedia Commons.



Epic Battles, Boring Idiots, Paper Clips: Happy Monday!

June 11, 2012 | by

  • The classics, condensed for babies.
  • Archaeologists from the Museum of London are excavating the Curtain Theatre, which predates the Globe, and may have served as an interim home for Shakespeare’s troupe.
  • In praise of the paper clip.
  • Buzz Bissinger versus Dallas.
  • Amazilla versus Barnes Kong: watch the epic trailer for Rebel Bookseller.
  • Slavoj Žižek: “For me, the idea of hell is the American type of parties. Or, when they ask me to give a talk, and they say something like, ‘After the talk there will just be a small reception’—I know this is hell. This means all the frustrated idiots, who are not able to ask you a question at the end of the talk, come to you and, usually, they start: ‘Professor Žižek, I know you must be tired, but …’ Well, fuck you. If you know that I am tired, why are you asking me? I'm really more and more becoming Stalinist. Liberals always say about totalitarians that they like humanity, as such, but they have no empathy for concrete people, no? OK, that fits me perfectly. Humanity? Yes, it's OK—some great talks, some great arts. Concrete people? No, ninety-nine percent are boring idiots.”