Posts Tagged ‘correspondence’
December 12, 2014 | by Dan Piepenbring
From a letter Gustave Flaubert wrote to George Sand in October 1866:
I don’t experience, as you do, this feeling of a life which is beginning, the stupefaction of a newly commenced existence. It seems to me, on the contrary, that I have always lived! And I possess memories which go back to the Pharaohs. I see myself very clearly at different ages of history, practicing different professions and in many sorts of fortune. My present personality is the result of my lost personalities. I have been a boatman on the Nile, a leno in Rome at the time of the Punic wars, then a Greek rhetorician in Subura where I was devoured by insects. I died during the Crusade from having eaten too many grapes on the Syrian shores, I have been a pirate, monk, mountebank and coachman. Perhaps also even emperor of the East?
Many things would be explained if we could know our real genealogy. For, since the elements which make a man are limited, should not the same combinations reproduce themselves? Thus heredity is a just principle which has been badly applied …
Oh! You think that because I pass my life trying to make harmonious phrases, in avoiding assonances, that I too have not my little judgments on the things of this world? Alas! Yes! and moreover I shall burst, enraged at not expressing them.
December 8, 2014 | by Dan Piepenbring
Delmore Schwartz was born on this day in 1913. The below is from a letter he sent to his publisher, James Laughlin of New Directions, on May 8, 1951; it’s extracted from a series of their correspondence published in our Summer 1992 issue. A few years after this letter, in 1953, Laughlin dissolved his business relationship with Schwartz, who had succumbed to neurosis and paranoia, early signs of which are visible here. By the early sixties, Schwartz had cut off nearly all his friendships and started to drink heavily. He died in 1966.
I have decided not to be a bank clerk, after all, since I would probably be paralyzed by the conflict between my desire to steal money and my fear of doing so.
It was pleasant to learn that you expected our correspondence to be read in the international salons and boudoirs of the future. Do you think they will be able to distinguish between the obfuscations, mystification, efforts at humor, and plain statement of fact? Will they recognize my primary feelings as a correspondent—the catacomb from which I write to you, seeking to secure some word from the real world, or at least news of the Far West—and sigh with compassion? Or will they just think I am nasty, an over-eager clown, gauche, awkward and bookish? Will they understand that I am always direct, open, friendly, simple and candid to the point of naïveté until the ways of the fiendish world infuriate me and I am poked to be devious, suspicious, calculating, not that it does me any good anyway? And for that matter, what will they make of your complex character?
It develops that the jukeboxes in bars now have an item entitled Silence, which costs a nickel, just like Music. This can only lead to drunken disputations between those who want Silence and those who will be goddamned if they can’t have a little Music with their beer.
The Giants, after losing eleven straight and thus preventing me from buying the newspaper for eleven days, defeated Pittsburgh twice in three days, which made me reflect on the fact that I have been a Giants rooter for thirty years: the expense of spirit in a waste of games.
October 15, 2014 | by Dan Piepenbring
You may well have seen that our new Fall issue features a loping and very funny editorial exchange between George Plimpton and Terry Southern, one that captures both men at the height of their wit—and especially Southern’s, shall we say, distinctive style on the page. (“Yes, it’s true I’ve a rather crackerjack interview with good Hank Yonge tucked away in the old jock-strap, and naturally I’m eager to see it get the sort of dignified dissemination its merit does warrant,” a not-atypical sentence goes.)
The Review has published a lot of Southern over the years. Issue 138, from Spring 1996, has a particularly rich cache of what the man himself might call “Quality Lit,” not just by Southern but about him. It is, essentially, a Terry Southern memorial: when Southern died in October 1995, Plimpton and the staff collected some of his unpublished work and a series of remembrances in his honor. Among the tribute are four pages from an unfinished screenplay, which we’ve reproduced below. It’s just enough to make you wish he’d seen the thing through, and just enough to make you wonder what the hell the movie would’ve actually been about. Skeet shooting? Drug-addled romantics? The French?
As a salute to Southern, who died nineteen years ago this month, for the rest of October we’re offering copies of Issue 138 for only fifteen dollars—fifty percent off the regular price. The issue features an essay by Southern, an interview with him, and remembrances by William Styron, George Plimpton, and Henry Allen. There’s also of course a glut of material having nothing to do with Southern whatsoever, if that’s more your thing: fiction by Junot Diaz and Milan Kundera, interviews with Richard Price and Billy Wilder, poetry galore, et cetera, et cetera. Get a move on!
October 14, 2014 | by Dan Piepenbring
For E. E. Cummings’s birthday: a letter he wrote to Ezra Pound in October 1941, larded with gossip, political commentary, neologisms, and mordant pseudonyms. (Look out for Archibald MacLeish and William Carlos Williams, among others.) Pound and Cummings first met in Paris in 1921; this letter and others from the expansive Pound-Cummings correspondence appeared in our Fall 1966 issue, with Cummings’s “often eccentric punctuation and his verbal byplay intact.”
October 8, 1941
whole, round, and heartiest greetings from the princess & me to our favorite Ikey-Kikey, Wandering Jew, Quo Vadis,Oppressed Minority Of one, Misunderstood Master, Mister Lonelyheart, and Man Without A Country
re whose latest queeries
East Maxman has gone off on a c-nd-m in a pamphlet arguing everybody should support Wussia, for the nonce. “Time” (a loose) mag says Don Josh Bathos of London England told P.E.N. innulluxuls that for the nonce writers shouldn’t be writing. Each collective choisi(pastparticiple,you recall,of choisir)without exception and—may I add—very naturally desires for the nonce nothing but Adolph’s Absolute Annihilation, Coûte Que Coûte (SIC). A man who once became worshipped of one thousand million pibbul by not falling into the ocean while simultaneously peeping through a periscope and sucking drugstore sandwiches is excoriated for,for the nonce,freedom of speech. Perfectly versus the macarchibald maclapdog macleash—one(1)poet,John Peale Bishop, hold a nonce of a USGov’t job;vide ye newe Rockyfeller-sponsored ultrarumpus to boost SA infrarelations. Paragraph and your excoed Billy The Medico made a far from noncelike W.C. of himself(per a puddle of a periodical called “Decision”)relating how his poor pal E.P. = talented etc but ignorant ass who etc can’t play the etc piano etc… over which tour d’argent the wily Scotch duckfuggur Peter Munro Jack 5 Charles Street NYCity waxed so wroth he hurled at me into New Hampshire a nutn if not incandescing wire beginning “stab a man in the back but do it three years too late”:’twould hence appear you’ve still some friends, uncle Ezra, whether vi piace or non
now to descend to the surface;or, concerning oldfashioned i: every whatsoever bully(e.g. all honourless & lazy punks twerps thugs slobs politicos parlourpimps murderers and other reformers continues impressing me as a trifle more isn’t than least can less and the later it’s Itler the sooner hit’s Ess. Tune: The Gutters Of Chicago
“make haste” spake the Lord of New Dealings
“neutrality’s hard on my feelings”
—they returned from the bank
with the furter in frank:
& the walls,& the floors,&the ceilings)
As my father wrote me when I disgraced Orne—forsan et haec. And the censor let those six words through
hardy is as hardy does
July 17, 2014 | by Sadie Stein
When I was thirteen, and my dear friend Laura went on a teen hiking tour of the British Isles, I wrote her religiously. Letters, yes, but cards, too. I was stationary in New York, but I had found a lot of vintage postcards somewhere ,and sent a pair of fictional spinsters around the country on an imaginary road trip; each card chronicled their increasingly lurid and ridiculous adventures. One of the sisters proved man-crazy, the other developed a gambling addiction in Reno. When Laura transferred to a boarding school in Wales, their adventures continued.
Nowadays, that doesn’t seem like that big a deal. People are always sending Flat Stanleys and toys and gnomes around the world; you can download a template right from the Internet. Nothing new under the sun, I guess, but I loved having that imaginative connection to a friend across the world.
Now, as a grownup on vacation, I’m sitting here with a pile of postcards in front of me, wondering what to do about it. What, after all, is a postcard? In the age of e-mail and Instagram and Twitter, it’s a self-conscious anachronism. When you read an old postcard, their messages—in that spindly, legible, Palmer-script hand—are often strikingly banal. People really do say “wish you were here,” without embarrassment, and talk about the weather. With traditional postcards, the thought is what counts; these were, by and large, generic images bearing the most impersonal of greetings. Read More »
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 »