Posts Tagged ‘correspondence’
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 »
March 5, 2013 | by Sadie Stein
“I was speaking to Mde. B. this morning about a boiled loaf, when it appeared that her master has no raspberry jam; she has some, which of course she is determined he shall have; but cannot you bring a pot when you come?”
—Jane Austen to her sister, Cassandra
November 5, 2012 | by Sadie Stein
May 15, 2012 | by Sadie Stein
To paraphrase Mr. Bennett, my life holds few distinctions, but I do have a really good sign-off. Since I was twenty-one, I have ended all correspondence As ever.
I’ll give credit where credit is due: I stole it. I first saw the valediction at the bottom of a professor’s e-mail. This professor was something of a legend at the university I attended, a gregarious scholar who had trained generations of burgeoning linguists. By the time I knew him he’d been teaching at the university for some fifty years and was as known for his periodic open houses as for his engaging lectures. I was a senior before I was invited to one of these parties, although really, anyone could go. But that year, I was taking the professor’s seminar and so was added to the guest list.
It was a pleasant e-mail to receive by any standards: warm, welcoming, and written with just enough informality to suggest friendliness while maintaining dignity. And there, at the end, “as ever” and the professor’s name.
I was immediately enchanted. Read More »
January 13, 2012 | by Lorin Stein
As Mr. Wilson so justly proclaims in the beginning of “The Strange Case of Pushkin and Nabokov,” we are indeed old friends. I fully share “the warm affection sometimes chilled by exasperation” that he says he feels for me. In the 1940s, during my first decade in America, he was most kind to me in various matters, not necessarily pertaining to his profession. I have always been grateful to him for the tact he showed in refraining from reviewing any of my novels. We have had many exhilarating talks, have exchanged many frank letters. A patient confidant of his long and hopeless infatuation with the Russian language, I have always done my best to explain to him his mistakes of pronunciation, grammar, and interpretation. As late as 1957, at one of our last meetings, we both realized with amused dismay that despite my frequent comments on Russian prosody, he still could not scan Russian verse. Upon being challenged to read Eugene Onegin aloud, he started to do this with great gusto, garbling every second word and turning Pushkin’s iambic line into a kind of spastic anapaest with a lot of jaw-twisting haws and rather endearing little barks that utterly jumbled the rhythm and soon had us both in stitches.
So begins the famous response, by Vladimir Nabokov, to a negative review by Edmund Wilson in The New York Review of Books. The book: Nabokov’s translation of Eugene Onegin. A fun game to play: Exactly where does Nabokov start to show his teeth? Is it “the tact he showed in refraining from reviewing any of my novels”? Or “not necessarily pertaining to his profession”? Or even that “justly” in sentence one?
Six years later, when Norman Mailer was attacked by Gore Vidal in that same magazine, Mailer took his case to the masses—on The Dick Cavett Show—with less sinuous results. The lesson, most publishers will tell you, is never respond. But it's awfully good TV.
I am taking a beginning poetry class and am expected to write imitations of poets on the class list. What should I be careful to do or not do? What should I pay attention to in an imitation?
To get the most out of the exercise, try to make the meter sound exactly like the meter of the poem you’re imitating. And make sure the teacher checks your work. The meter will look and sound right to you—and if you are a beginner, it will almost certainly be wrong. (You will say your words out loud in your head as if they marched along ka-thunk, ka-thunk, ka-thunk, when in fact they will go baah-duh-dee, buh-dee-doo.) Don’t get hung up on matching the vocabulary of the old poems. You won’t get it right, and it will sound fake. Use words that are more or less natural to you.
And have fun! Read More »