Posts Tagged ‘D. H. Lawrence’
July 4, 2014 | by The Paris Review
It turns out that I was right last week (I love it when that happens) about the print version of Nautilus. It’s sharp, well-rounded, and just plain nice to look at. I could recommend any number of articles (such as Slava Gerovitch’s fascinating essay on Russian mathematician Andrei Kolmogorov), but one in particular made an impression: Alisa Opar’s short piece in the Spring 2014 issue on procrastination. I’m writing this, you see, up against the deadline that Dan Piepenbring sets for us each week. I did the same thing last week. Though I spend all week knowing I’ll write a few lines on what I’ve been reading, I wait, without fail, until the very last minute to sit down and write it. That’s because, according to Opar’s article, my future self is a stranger. That future version of me is the one who will have to deal with the consequences of my current procrastination (sucker!). Apparently, making a lengthy timeline that ends with me writing this should help me feel connected to my future self. It’s an interesting idea. I’ll get right on it tomorrow. —Nicole Rudick
Earlier this week, I took a coffee and a book to the Peace Garden at the Cathedral of St. John the Divine, where I found myself joined by a white-feathered peacock; Phil, a leucistic peafowl, is apparently a regular there. Always followed by his flowing white train, he creates a procession wherever he goes; you couldn’t ask for a more august companion. And with Phil’s distinguished mien in mind, I point to D. H. Lawrence’s short story “Wintry Peacock,” from his 1922 collection England, My England and Other Stories. It tells of secret lovers, purloined correspondence, and a protective peacock named Joey. The narrator finds himself the unwilling mediator of a young English country couple’s marital troubles, a task he meets with equal parts fascination and disgust. As he translates a letter from the husband’s French mistress, he suppresses a gag: “I vaguely realized that I was reading a man’s private correspondence. And yet, how could one consider these trivial, facile French phrases private? Nothing more trite and vulgar in the world than such a love-letter—no newspaper more obvious.” —Chantal McStay
A few weeks ago, I discovered Richard Prince’s Instagram account. Prince, for the uninitiated, is the guy who took images of the Marlboro Man from cigarette ads, blew them up, and called them his own work. Then they sold for a bajillion dollars at auction, and he was celebrated as a deity of conceptual appropriationism. His style of appropriation—photographing and re-photographing—is perfectly suited to Instagram. He takes screenshots of posts by celebrities, prints them out on a large scale, takes photos of them with his iPhone, and then reposts them. “It was like revisiting an older system that I was already familiar with,” he explained in a post on his website, except “the photo paper was an electronic page, the source material was Google, and the re-photography was a screen-save.” In the past year, he’s posted everything from copies of The Catcher in the Rye that credit him as the author to a completely nude ten-year-old Brooke Shields re-photographed from his 1983 work Spiritual America. (That got him temporarily banned from the site.) Prince has made room for his experiments in a medium known for food porn and social one-upsmanship—quite a feat. —Teddy Lasry
The Pitchfork Review, a new quarterly print counterpart to the music criticism site, may not win many converts—it’s very much “on brand,” though Pitchfork’s trademark decimal-point ratings are mercifully absent. Still, even if you’re inclined to write off the site as a hollow tastemaker, give the magazine a look; lavishly designed and thoughtfully composed, it will be of interest to anyone who yearns for the heyday of Spin, Rolling Stone, Downbeat, or The Village Voice. Its latest issue boasts a number of excellent diversions—I was particularly impressed with Gary Giddins’s piece on Stanley Kubrick’s scores, and with Lindsay Zoladz’s “Ghost Riding: The Story of the Performing Hologram,” which examines the burgeoning use of holography and its curious intersection with hip-hop culture. —Dan Piepenbring Read More »
April 24, 2014 | by Dan Piepenbring
- Fact: in 1934, H. G. Wells interviewed Stalin.
- Professor Richard H. Hoggart has died, at ninety-five. In 1960, Hoggart helped to end British censorship of Lady Chatterley’s Lover; he is “widely credited as the most persuasive in convincing a jury of nine men and three women that Lawrence’s graphic descriptions of sex between Lady Constance Chatterley and her husband’s groundskeeper, Oliver Mellors, were not obscene.”
- Beijing now has a twenty-four-hour bookstore. It has nightly promotional offers and air-conditioning. “We want to create an intellectual environment for book lovers,” the store’s manager said. But lest you think it sounds like paradise: “We mainly sell social science books.”
- The critic Franco Moretti “pursues literary research of a digital and quantitative nature”; in other words, he handles books as if they’re mountains of data. “I’m interested in the survival of genres, of texts, of forms. I’m a formalist. I think that should be the basis of literary analysis because, I suspect, that is also the basis of readers’ choices, although readers may not be aware of that. They don’t seem to choose a story. They choose a story told in a certain way, with a certain style and sense of events.”
- For Mary Gaitskill, Let’s Talk About Love, Carl Wilson’s excellent book about Céline Dion, becomes a meditation on our preoccupation with cool: our ferocious disdain for Dion suggests we live in “a world of illusory shared experiences, ready-made identities, manipulation, and masks so dense and omnipresent that in this world, an actual human face is ludicrous or ‘crazy’; a world in which authenticity is jealously held sacrosanct and yet is often unwelcome or simply unrecognizable when it appears.”
April 1, 2014 | by Dan Piepenbring
- D. H. Lawrence’s hometown has opened a new pub called the Lady Chatterley.
- An enterprising fourteen-year-old has an urgent message for the government: change your official typeface to Garamond and you’ll save millions.
- Shakespeare plays illustrated in three easy panels. (“Three witches tell Macbeth he will be king. Macbeth kills lots of people in order to be king. Macbeth is killed.”)
- Taking stock of Monocle, which is now seven years old: “a magazine that is in general focused on a particular brand of well-heeled global urbanism … Monocle doesn’t have bureaus, it has bureaux … what Monocle and its advertisers clearly understand, even if the point is seldom made explicit, is that living in a first-tier city is a luxury good, like a Prada bag or a pair of Hermès boots.”
- Don’t merely go to the circus. Go to the circus in Communist-era Poland. “The visual style of the Polish School of Posters, funded and sponsored by state commissions, was characterized by vibrant colors, playful humor, hand-lettering, and a bold surrealism that rivaled anything similar artists in the West were doing at the time.”
December 18, 2013 | by Casey N. Cep
In 1927, Richard de la Mare had an idea for some Christmas cards. Because he was a production director at London’s Faber & Gwyer, his cards were festive poetry pamphlets that could be sent to clients and sold to customers for one shilling a piece. Because two years earlier Geoffrey Faber had lured a banker from Lloyd’s Bank to work as an editor at his publishing house, Faber & Gwyer had T. S. Eliot to contribute to the series.
Named for Shakespeare’s sprite, the Ariel poems each addressed the Christmas holiday or a seasonal theme. G. K. Chesterton, Thomas Hardy, D. H. Lawrence, Siegfried Sassoon, Vita Sackville-West, Edith Sitwell, and W. B. Yeats all contributed. The Ariel series followed a strict formula: identical cardboard bindings; title, illustrator, author, and occasionally an illustration on the cover; and two interior sheets folded to make four pages. The first page repeated the title information; the following three featured the poem and an original illustration.
T. S. Eliot wrote six poems for the series: “The Journey of the Magi” (1927), “A Song for Simeon” (1928), “Animula” (1929), “Marina” (1930), “Triumphal March” (1931), and, later when the series was revived, “The Cultivation of Christmas Trees” (1954). Only thirty-four lines long, that final poem is like a whisper in the whirlwind of dramatic plays and long poems that characterize most of Eliot’s later work. “The Cultivation of Christmas Trees” came decades after “The Love Song of J. Alfred Prufrock” (1917) and The Waste Land (1922), years after Old Possum’s Book of Practical Cats (1939) and The Four Quartets (1943).
I think of Eliot’s Christmas trees every year around this time: when firs, pines, and spruces appear in living rooms, storefronts, and town squares around the country. Eliot wrote the poem when he was sixty-six years old. His voice is wizened, yet wistful as he reaches through all the years of his life to recover “the spirit of wonder” from his earliest Christmases. Though formal and serious, the poem seems almost saccharine when compared to his earlier work. It will surprise many that the poet of fragments and ruins eventually turned his attention to the pretty packages and bright lights of Christmas. Read More »
September 11, 2013 | by Sadie Stein
“I like to write when I feel spiteful. It is like having a good sneeze.” ―D. H. Lawrence, letter to Cynthia Asquith, 1913