Posts Tagged ‘David Foster Wallace’
June 14, 2013 | by Alexander Nazaryan
It is best to dispense at once with the salacious stuff of Charlie Newman’s life: he was a drunk, a bastard, and a boor. His marriages did not last. His books did not bring fame. When not poisoning his liver or relations with both family and fellow writers, he taught college, smoked a pipe, and trained dogs.
Only the very last of these facts is relevant when reading In Partial Disgrace, a fantastically odd posthumous novel for those who like their beauty strange, their plots unruly, their ideas ambitious. It has been patched together by his nephew Ben Ryder Howe—a former editor at The Paris Review–and released this spring by Dalkey Archive Press. The book is set in a fictional European land called Cannonia, its history based on that of Hungary but its name quite clearly derived from the Latin for dog, canis. The main character, Felix Aufidius Pzalmanazar, is a dog breeder, and there are roughly 0.7 references to the canine species on each page of this gorgeous mess of a novel, which is what Pale Fire (a novel Newman adored) might have read like if given a heavy-handed edit by Cesar “The Dog Whisperer” Millan. Read More »
May 30, 2013 | by Sadie Stein
- This list of authors’ annotations to books in their personal libraries is truly fantastic. (The above is, obviously, David Foster Wallace’s.)
- In a letter, Rudyard Kipling admits that “it is extremely possible that I have helped myself promiscuously” to material from other writers while writing The Jungle Book. Probable, even!
- Now we’re all really self-conscious about how we pronounce pecan.
- The National Book Critics Circle is introducing a new awards category, for first books in any genre.
- “One hundred and eighteen miles north of London, in the town of Boston, England, there lives a retired newspaperman named John Richards who is experiencing an unusually rotten spring. Richards is the founder and chairman of something called the Apostrophe Protection Society. His world, at least as related to the tiny mark that denotes possessives and the omission of letters from certain words, appears to be crashing down around him.”
May 8, 2013 | by Sadie Stein
May 6, 2013 | by Alexander Aciman
The first volume of Marcel Proust’s In Search of Lost Time: Swann’s Way was published almost exactly a hundred years ago. Its opening lines make one thing inescapably apparent: Proust’s style is inimitable; there is much more to it than long sentences, pauses for reminiscence and brittle cookie breaks, and whatever other tropes readers have associated with Proust. It is a style that tussles with our notion of literary temporality itself. Over the last century, countless translators have struggled with these famous opening lines:
Longtemps, je me suis couché de bonne heure. Parfois, à peine ma bougie éteinte, mes yeux se fermaient si vite que je n’avais pas le temps de me dire: « Je m’endors. »
Nobody seems to be able to agree whether to translate the verb of the principal clause as a conditional or a past participle, because while in French it is obviously the latter, it seems to act as the former. We’ve had various degrees of “went to bed early,” “used to go to bed early,” “would go to bed early,” each meaning more or less the same thing, but none hitting the nail directly on the head.
Scholars have found these lines, at once, undeniably charming and a huge pain to work with.
But in this seemingly untranslatable sentence, even among translators—whose very job it is to take troublesome idioms and phrases and grammatical twists and make them legible and appropriate, and to do so by imparting as much of Proust’s style and as little of their own as possible—there is so much variety that it raises another important question: How would this sentence have been handled by other writers? Read More »
April 18, 2013 | by Sadie Stein
April 16, 2013 | by Jeffrey Eugenides
Every year, at our Spring Revel, we give three honors: the Hadada Prize, the Plimpton Prize, and the Terry Southern Prize. This year, Jeffrey Eugenides presented the Plimpton Prize to Ottessa Moshfegh.
The Plimpton Prize for Fiction is a $10,000 prize awarded to an author who made his or her debut in our pages in the previous year. Moshfegh had two stories in the Review: “Disgust” (issue 202) and “Bettering Myself” (issue 204).
Nothing is harder for a writer than getting published for the first time. The road from the bypass to the byline is paved with misery. In fact, it’s not even paved—that’s the problem: you’re stuck knee-deep in a bog, and no one cares if you ever get out.
Of equal difficulty, on the other side of the equation, is the task of finding an unknown writer. Reading through the slush pile is like looking for tigers in the jungle: they’re camouflaged not only by their stripes but their surroundings. An editor has to be unflaggingly alert and discerning, alive to any perceptible movement in the shadows. Read More »