Posts Tagged ‘daphne du maurier’
September 27, 2012 | by Sadie Stein
September 18, 2012 | by Sadie Stein
Around the sixth day of my trip to Portugal, I forced myself to accept the fact that I would not be returning home with vast quantities of convent-made lingerie, replete with handwork and bobbin lace. Not, I assure you, for lack of trying. When something doesn’t exist, as a hundred thousand visitors to Loch Ness will tell you, finding it makes for very tough work.
Why the obsession, you ask? Well, I will tell you. First, I happened to reread Rebecca just before we left. Do you remember when Mrs. Danvers shows the narrator Rebecca’s exquisite nightdress, folded and left waiting for her in a silk case? “Here is her nightdress … how soft and light it is, isn’t it? … They were specially made by nuns of St. Claire.” This alone would have been enough to fire my imagination: this one garment, after all, serves as a symbol of Rebecca’s unattainable perfection: delicate, beautiful, worthy not merely of the most exquisite things but of the work it entails. Somehow both ethereally pure and erotically charged. A sex goddess blessed by Brides of Christ. No wonder the nameless narrator is intimidated.
Then, flipping through D.V., I ran across the passage wherein Mrs. Vreeland describes her London lingerie atelier:
The most beautiful work was done in a Spanish convent in London, and that’s where I spent my time. There was a brief period in my life when I spent all my time in convents. I was never not on my way to see the mother superior for the afternoon. “I want it rolled!” I’d say. “I don’t want it hemmed, I want it r-r-r-rolled!”
And a conviction grew in my breast: I would return to New York with a wearable piece of the Old World. Read More »
May 25, 2012 | by The Paris Review
I know it’s dumb to bet on which novels—which anything—will endure and which won’t. So why, reading Endless Love, Scott Spencer’s 1979 novel of romantic obsession, do I keep thinking, This will outlast us all? Maybe because it reminds me of other novels that have stayed fresh over the decades without the benefit of “classic”—or even cult classic—status: books like Victory, or Rebecca, or The Transit of Venus or The White Hotel or, in a funny way, Mating. You could make a much longer, even more random list, but there’s something they all have in common, something to do with technical sophistication, urgency, and shamelessness, as if the plot came welling up out of a nightmare. They are, you might say, too strong to be classics; they don’t need champions or explaining. People will just keep making each other read them. —Lorin Stein
After my most recent binge at Westsider Books, I found myself holding a copy of something titled The Minikins of Yam. Maybe it’s all these rainy afternoons, but lately I’ve missed the middle school era of my reading life, when “guilty pleasure” was the only category. I freely admit that I chose this paperback by Thomas Burnett Swann, an almost entirely forgotten 1970s author of “neo-romantic fantasy,” solely on account of its awesome cover art, in which a horned lady sallies forth atop a bejeweled ostrich. But Yam delivers exactly what George Barr’s cover art promises: basilisks, subterfuge, and beast-headed gods. If you, too, are an adult human still coping with the end of Harry Potter, look for one of these gorgeous DAW paperbacks to help fill the void. —Allison Bulger
Happy Memorial Day Weekend! If mysophobia (or better options) keep you from the opening of public pools this weekend, I suggest reading David Foster Wallace’s “Forever Overhead,” a story from Brief Interviews with Hideous Men in which a pubescent boy celebrates his thirteenth birthday at a local public pool. You get splash fights, diving-board lines, too-tight suits, Marco Polo—the stuff of poolside dreams—and the fierce awkwardness and exposed, liquid thoughts that public pools and puberty bring forth. Wallace tells the story with manic detail and emotional exactitude, and, as always with dear DFW, it’s at once playful and meditative, unlikely and perfect. —Elizabeth Nelson
I’ve been home sick for the past two days and have found that Space Oddities: A Compilation of Rare European Library Grooves from 1977–1984 is the perfect sound track to a fever. Not a ringing endorsement? Well, you may just have to listen to this collection of carefully culled (by French DJs, naturally) clips from commercials, movies, and TV shows for yourself. I still have my ’08 CD, but good news: the whole album is on Spotify! Try “Robot Dancer.” —Sadie Stein
My experience with Egyptian art is limited mostly to the blockbuster stuff—I remember seeing traveling shows in Texas, where the heavy eye makeup and big jewelry of the statuettes and masks seemed to make a certain kind of sense—and it’s impressive, to say the least. But now I’m finding myself wowed by the smaller, less overtly extraordinary objects in the Met’s “Dawn of Egyptian Art” show (I’ve spent a lot of time with the catalogue as well). The flash of gold and scale is replaced here with the innate beauty of natural materials and form, like a frog carved from a black stone flecked with white; a basket filled with tiny fish, all incised into a single piece of powdery steatite; and the head of a bovid chiseled from clay-hued flint. I’m also unduly impressed with the various hippopotamus-shaped objects—not surprising, since I’ve long been the proud owner of a tubby blue “William.” —Nicole Rudick
April 26, 2012 | by Leanne Shapton and Ben Schott
Paint Samples, suitable for the home, sourced from colors in literature. As seen in our two-hundredth issue.
- “The clouds have their old color back, their old English color: the color of a soft-boiled egg, shelled by city fingers.” ‘London Fields,’ Martin Amis.
- “They hurried out of the room and returned in a minute or two, each pushing a kind of tall dumb-waiter laden, on all its four wire-netted shelves, with eight-month-old babies, all exactly alike (a Bokanovsky Group, it was evident) and all (since their caste was Delta) dressed in khaki.” ‘Brave New World,’ Aldous Huxley.
- “Instead, she’d burst into tears. Wetting the front of her navy-blue rayon housewife dress.” ‘Blonde,’ Joyce Carol Oates.
- “Then Kolokolo Bird said, with a mournful cry, ‘Go to the banks of the great gray-green, greasy Limpopo River, all set about with fever-trees, and find out.’ ” “The Elephant’s Child,” Rudyard Kipling.
- “Miss Mapp inclined her head. Silence was gold.” ‘Miss Mapp,’ E.F. Benson.
- “So Becca shows up at the last minute, right before post time. She’s already called about eighteen times just to let us know that she’s coming, finally she dances through the door in this micro lycra red dress— just a sheath really, perfect for that 3:00 a.m. nightclub appearance, but like even I wouldn’t be caught dead walking around in this thing in the middle of the day. But the boys love it and it gets so quiet for a minute you can hear the sound of tongues dropping and saliva splashing on the floor.” ‘Story of My Life,’ Jay McInerney.
- “Percy showed it to him last night—over a pink gin, was it, Percy, at the Travellers’?” ‘Tinker, Tailor, Soldier, Spy,’ John le Carré.
- “Lydia never looked clean; her skin was not pitted like Joe’s but it had a permanent grayness, the grayness of one reared on baked beans, jelly and bread and dripping.” ‘The Millstone,’ Margaret Drabble.
- “‘The important thing, dear,’ she said, ‘is to have a really good fur coat, I mean a proper, dark one.’ To Lady Montdore, fur meant mink.” ‘Love in a Cold Climate,’ Nancy Mitford.
- “He’s very close to being the shade of the walls, isn’t he, and the shade of the walls is exactly the color of the inside of Rothko’s forearm.” ‘Breaking and Entering,’ Joy Williams.
- “He will not open the screen and capture their pollened bodies. He did this once and the terrified thrash of the moth—a brown-pink creature who released col- ored dust on his fingers—scared them both.” ‘In the Skin of a Lion,’ Michael Ondaatje.
- “ ‘Now, darling,’ she said sailing past me into the kitchen. ‘I’ve brought you some nice soup, and some smart outfits of mine for Monday!’ She was wearing a lime green suit, black tights and high-heeled court shoes.” ‘Bridget Jones’s Diary,’ Helen Fielding.
- “‘Well, let’s try and have a fine time.’ ‘All right. I was trying. I said the mountains looked like white elephants. Wasn’t that bright?’ ” “Hills Like White Elephants,” Ernest Hemingway.
- “Cousin Bette, a victim, ever since her arrival in Paris, to a longing for cashmere shawls, was fascinated by the thought of possessing this particular yellow camel’s-hair, given by the baron to his wife in 1808, and according to the custom of certain families passed over to the daughter in 1830.” ‘Cousin Bette,’ Honoré de Balzac.
- “I saw large gray eyes in a bright, lively face, and suddenly this face began to quiver and laugh.” ‘First Love,’ Ivan Turgenev.
- “He seemed, unfortunately, to have no proper teeth—how was he, then, to grasp the key?—but the lack of teeth was, of course, made up for with a very strong jaw; using the jaw, he really was able to start the key turning, ignoring the fact that he must have been causing some kind of damage as a brown fluid came from his mouth, flowed over the key and dripped onto the floor.” ‘The Metamorphosis,’ Franz Kafka.
- “Everywhere I go, upstairs or down, they all cast admiring glances at my feet, which are adorned by a pair of exceptionally beautiful ( for times like these!) shoes. Miep managed to snap them up for 27.50 guilders. Burgundy-colored suede and leather with medium-sized high heels. I feel as if I’m on stilts, and look even taller than I already am.” ‘Diary of a Young Girl,’ Anne Frank.
- “He was the color of moss, that color green. It was as if he had been wrapped up in moss a long time, and the color had come off all over him.” “Nobody Said Anything,” Raymond Carver.
- “When I awoke, B. and the girl had gone, leaving in the wake of their coupling a great mountain of disheveled bedding, a brilliant stain of orange lipstick smack in the middle of the pillow, and on the exposed sheet the untidy evidence of their urgency.” ‘A Fan’s Notes,’ Frederick Exley.
- “Ah, brig, good-night / To crew and you; / The ocean’s heart too smooth, too blue, / To break for you.” “Shipwreck,” Emily Dickinson.
- “And then later that business down below, his thick cock that blue-brown of Mediterranean types and, he wonders if her hair there is as curly as the hair on her head, in and out, he can’t believe it will happen, while the rest of them sit here listening to the rain.” ‘Rabbit Is Rich,’ John Updike.
- “These are her underclothes, in this drawer. This pink set here she had never worn. She was wearing slacks of course and a shirt when she died.” ‘Rebecca,’ Daphne du Maurier.
- “‘If it wasn’t for the mist we could see your home across the bay,’ said Gatsby. ‘You always have a green light that burns all night at the end of your dock.’ ” ‘The Great Gatsby,’ F. Scott Fitzgerald.
- “In the black pubic hair, ladies and gentlemen, weighing one hundred and seventy pounds, at least half of which is still undigested halvah and hot pastrami, from Newark, NJ, The Shnoz, Alexander Portnoy! And his opponent, in the fair fuzz, with her elegant polished limbs and the gentle maidenly face of a Botticelli, that ever-popular purveyor of the social amenities here in the Garden, one hundred and fourteen pounds of Republican refinement, and the pertest pair of nipples in all New England, from New Canaan, Connecticut, Sarah Abbott Maulsby! ” ‘Portnoy’s Complaint,’ Philip Roth.
- “When the first gosling poked its gray-green head through the goose’s feathers and looked around, Charlotte spied it and made the announcement.” ‘Charlotte’s Web,’ E.B. White.
- “Not a dandelion in sight here, the lawns are picked clean. I long for one, just one, rubbishy and insolently random and hard to get rid of and perennially yellow as the sun.” ‘The Handmaid’s Tale,’ Margaret Atwood.
- “At the violet hour, when the eyes and back / Turn upward from the desk, when the human engine waits / Like a taxi throbbing waiting.” ‘The Waste Land,’ T. S. Eliot.
- “For all her chic thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks.” ‘Breakfast at Tiffany’s,’ Truman Capote.
January 25, 2012 | by Sadie Stein
November 18, 2011 | by The Paris Review
I was thrilled when a copy of The Doll—Daphne du Maurier’s early short stories, some “lost”—arrived in the office. They’re not all amazing, but when she’s good, she’s great. There’s the same sense of cold dread that pervades Don’t Look Now and Rebecca, and the title story presages the latter’s themes of obsession. (Not to mention, the object of obsession is named ... Rebecca.) —Sadie Stein
Olympia Le-Tan’s world! I dream of carrying my MetroCard and keys inside one of her handmade books, or minaudières, as they say in France. —Jessica Calderon
“I often feel that the scenes in Edward Hopper paintings are scenes from my own past” writes Mark Strand in Hopper, which pairs the artist’s paintings with Strand’s prose ruminations on them. It’s a little like meandering through a gallery with the poet. In it, “we feel the presence of what is hidden, of what surely exists but is not revealed … It weighs on us like solitude.” —Deirdre Foley-Mendelssohn
I’ve been reading and rereading the lovely long poem “The Blue Book” from Anna Moschovakis’s I Have Not Been Able to Get Through to Everyone. Its circuitous logic, in which one line feeds off the one before it, is mesmerizing. Each section describes the progression of an idea as a kind of mathematical equation, proving itself even as it calls itself into question. —Nicole Rudick