Posts Tagged ‘Colette’
September 30, 2013 | by Adam Leith Gollner
What have we not done to live forever? Adam Leith Gollner’s research into the endless ways we’ve tried to avoid the unavoidable is out now as The Book of Immortality: The Science, Belief, and Magic Behind Living Forever. Over the past seven weeks, this chronological crash course has examined the ways humankind has striven for, grappled with, and dreamed about immortality in different eras throughout history. This is the final installment.
You have to get old. Don’t cry, don’t clasp your hands in prayer, don’t rebel; you have to get old. Repeat the words to yourself, not as a howl of despair but as the boarding call to a necessary departure. —Colette, Les Vrilles de la Vigne
In 1927, before Charles Lindbergh set off across the Atlantic Ocean, newspapers described the flight as a guaranteed “rendez-vous with death.” While the Spirit of St. Louis hummed toward France, human-formed phantoms and vapor-like spirits materialized before Lindbergh’s eyes. These “inhabitants of a universe closed to mortal men” spoke to him, reassuring him and helping him find his way. This inner experience, he wrote, seemed to penetrate beyond the finite. It was an epiphany that guided the rest of his life.
After his pioneering flight, he received millions of letters, thousands of poems, countless gleaming accolades. Whole cities attended parades in his honor. Wing-walking skywriters spelled HAIL LINDY high in the air. Former secretary of state and later U.S. Supreme Court chief justice Charles Evans Hughes gave a speech in New York heralding “science victorious.”
In the euphoria’s wake, having managed one impossibility, Lindbergh wondered if he mightn’t help solve another. Working alongside Nobel Prize–winning cell biologist Alexis Carrel (who claimed, erroneously, that cells divide endlessly and are therefore naturally immortal), Lindbergh came to question whether death is “an inevitable portion of life’s cycle,” musing that perhaps scientific methods could hasten the arrival of bodily immortality.
Lindbergh had been raised to believe that “the key to all mystery is science.” The idea that science will allow men to become gods was instilled in him by his grandfather, a well-known surgical dentist. For postflight Lindbergh, solving the basic mystery of death seemed only as challenging as flying across the sea. It just meant doing what people said couldn’t be done. Yet as he aged, and as his experiments didn’t yield the hoped-for results, he began questioning his desire for immortality. He became an environmentalist, spending time in the wilderness and observing cycles of life and death in nature. Read More »
February 25, 2013 | by Sarah Gerard
To call Marie Chaix’s work autobiographical would be incomplete, though most of her books tell and retell the stories of her life. Her writing is porous and breathes memory, attesting to memory’s transience and the impressions it leaves on the body.
At the age of twenty-six, Chaix read the notebooks her father had kept during his ten years in prison following World War II. Unbeknownst to her family, he’d been the right-hand man of pro-German Fascist collaborator Jacques Doriot and had fought in the Wehrmacht beside him. This was a shock and became the topic of Chaix’s first book, The Laurels of Lake Constance. Like many of Chaix’s works, it hovers somewhere between memoir and fiction. In June, Dalkey Archive Press will publish The Summer of the Elder Tree, translated by Chaix’s husband, Harry Mathews. It concerns her ten-year hiatus from writing following the death of her editor and reincorporates many of the places she visited in The Laurels of Lake Constance and in her second book, Silences, or a Woman’s Life, which Dalkey published late last year.
Chaix spoke to me on the phone from her home in Key West.
As someone who writes a lot of autobiography, do you believe that a story is preexisting—that a writer’s job is to find it, retrieve it, and record it—or is there some invention in autobiography?
Well, I didn’t realize it before writing, but in general I discovered that, even if you have characters that you know very well—even if you write about yourself, about your “life,” your memories—the result is exactly the same as if it was fiction. I think that readers know that it’s autobiographical because writers care when it’s autobiographical, but they read it and think about themselves, which is what happened to me.
But I think writing doesn’t work like that, you know? Of course, you have a motive, you have yourself, you have your family. But they become completely—and even yourself—you become completely part of a larger world, a larger story. Read More »
July 20, 2012 | by Lorin Stein
Have made writing full time. Have novel and short essays. Attended NYU’s Summer Writer program last year. Would you have a good list of places for submissions beyond The Paris Review, The New Yorker and The New York Times? Thank you for reaching out via Twitter and offering some of us (hopefully lovable) newbies some guidance.
We get asked this a lot. It’s a reasonable question, but it always makes our hearts sink.
Here’s the thing: no matter how many classes you take, no matter how much time you spend at the keyboard, you cannot write seriously unless you read. And that means, partly, reading your contemporaries. Their problems are your problems; you can’t write—that is, you can’t write for serious readers—until you know what the problems are. Read More »