Posts Tagged ‘Doris Lessing’
August 24, 2015 | by Dan Piepenbring
- Newly declassified documents have revealed that the British government spied on Doris Lessing for some twenty years and that they’d thoroughly imbibed the rhetoric of J. Edgar Hoover: “Her communist sympathies have been fanned almost to the point of fanaticism owing to her upbringing in Rhodesia, which has brought out in her a deep hatred of the colour bar,” MI6 wrote of Lessing, whose “plump build” they were also sure to mention. “Colonial exploitation is her pet theme and she has now nearly become as irresponsible in her statements as … saying that everything black is wonderful and that all men and all things white are vicious.”
- Say what you will about The End of the Tour as a depiction of David Foster Wallace—it is, if nothing else, a smart take on the mechanics and ethics of celebrity profiles, the lifeblood of the magazine industry. “The movie is apt in its insinuation that there is sometimes very little daylight between doing the reporting necessary for a magazine profile of someone and compiling a surveillance dossier upon him or her … the very structure of the reporting process, with its enforced proximity, can engender a precarious intimacy, even while the ultimate purpose of this intimacy—an article that is to be written by one participant about the other—is never forgotten.”
- Teju Cole saw a photograph by René Burri: four men on a rooftop in São Paulo. He resolved to discover the circumstances of its creation, and—why not?—to replicate it, if possible: “To me, it literally portrays the levels of social stratification and the enormous gap between those above and those below … ‘Those four guys just came from nowhere, and went to nowhere,’ Burri said of the men in his photograph.”
- On philosophy and horror and the horror of philosophy and the philosophy of horror: “Any reader of difficult philosophy books will have experienced their own kind of horror of philosophy, reinforced today by public intellectuals, who most often use philosophy as a smokescreen for selling self-help books and promoting the cult of the guru … philosophy explains anything and everything, telling us that a horror films means this or that, reveals this or that anxiety, is representative of this or that cultural moment that we are living in, and so on. Perhaps genres such as the horror genre are interesting not because we can devise ingenious explanatory models for them, but because they cause us to question some of our most basic assumptions about the knowledge-production process itself.”
- If you’re looking for a good way to kill a lot of time at the end of the summer, head to Berlin, where, in a longstanding ritual, a cinema deep underground hosts a complete and unabridged viewing of Andrei Tarkovsky’s filmography. “International filmgoers book their flights as soon as the schedule is released, some in order to see the same set of films they saw last year. Judging from my seatmates at several screenings, the appeal crosses generational as well as national divides. The people want Tarkovsky, they want him on celluloid, and they want him whole.”
August 27, 2014 | by Dan Piepenbring
- Our poetry editor, Robyn Creswell, on the New Museum’s current show, “Here and Elsewhere”: “So many of today’s iconic images are made in the Middle East … For visual artists working from the region, this surfeit of spectacles poses a challenge. When everyday life—at least as it is experienced via a computer screen—regularly throws up these images of terror and drama and the technological sublime, how can a photographer compete?”
- Ben Lerner at the Met: “What interests me about fiction … is in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.”
- Things that—according to the students and faculty of the first Ashbery Home School, a new writing conference in Hudson, New York—John Ashbery is “the ultimate example of”: “surrealism, realism, hyperrealism, distance, proximity, translation, tradition, the grotesque, the beautiful, the blind, the all-seeing, the old, the young, the queer, the hetero, the hedgehog, the fox, the human, the alien, the bric-a-brac in the cupboard, the masterpiece on the wall, painting, cinema, architecture, life.” (NB the author of this list describes it as “incomplete and incompetent.”)
- A brief history of the problem of sorting, classifying, and otherwise categorizing things: “It is tempting to think making categories is a straightforward scientific enterprise, and that debates will be clearly settled once we’ve amassed enough data. But the history of science shows this not to be the case … The nature of scientific categories is not merely an empirical issue; it’s also a philosophical one, and one affected by self-interest and social forces.”
- Today, in posthumous gifts: more than three thousand of Doris Lessing’s books are to be donated to a public library in Zimbabwe, where she lived for twenty-five years.
November 19, 2013 | by Sadie Stein
- The Oxford Word of the Year is … selfie.
- Here is a series of cowboy poets, looking very authentically cowboy-ish indeed.
- Well, swell. Right-wing extremists destroyed a statue of the poet Radnóti Miklós, who died during the Holocaust, and are burning his books.
- “Wonderful Doris Lessing has died. You never expect such rock-solid features of the literary landscape to simply vanish. It’s a shock.” Margaret Atwood salutes the late laureate.
November 18, 2013 | by Sadie Stein
November 5, 2013 | by John Freeman
Seven years ago I was walking up Fifth Avenue with David Foster Wallace. He wanted to know what I thought of The Names. That one’s the key, he said, speaking of Don DeLillo’s work like it was a safe which contained its own code. It was hat-and-glove weather. Wallace wore a purple sweatshirt. Where did I get my coat? he asked. That’s a great coat, he said. It was like something James Bond would wear. Had I been to this restaurant before?
We had just walked into Japonica, a sushi restaurant on University Place. Our interview was underway, and Wallace was already several questions ahead of nearly every writer I had ever profiled. Most writers, even the most curious one, don’t ask questions of a journalist. Nor should they, necessarily. They are the ones being interviewed, after all.
Wallace, however, seemed to think in the interrogative mode. He was tall and slightly sweaty, looking like he had just come from a run. But he seemed determined not to intimidate. He was like a big cat pulling out his claws, one question at a time. See, look, I’m not going to be difficult.
Once we got going, though—and there was a propulsive, caffeinated momentum to the way he talked—he returned, constantly, to questions. Had I ever written about my life? It’s hard, right? Are celebrities even the same species as us? Is it possible to show what someone was really like in a profile?
“These nonfiction pieces feel to me like the very hardest thing that I do,” he said, talking about Consider the Lobster, the book he had just published, “because reality is infinite.” And then. “God only knows what you are jotting.”
I’ve been thinking a lot about this encounter lately. For the past fifteen years, I have interviewed a lot of writers. A few hundred—perhaps too many, but why not say yes? Shortly out of college a friend gave me a vintage set of The Paris Review Book of Interviews. They exhaled the flinty musk of a cigar smoker’s home, and were as snappy as the lining of a 1940s dinner jacket. Read More »
October 22, 2013 | by Sadie Stein
I know people say things like, “I regard you as rather a prophet.” But there’s nothing I’ve said that hasn’t been, for example, in the New Scientist for the last twenty years. Nothing! So why am I called a prophet, and they are not?
You write better.
Well, I was going to say, I present it in a more interesting way. I do think that sometimes I hit a kind of wavelength—though I think a lot of writers do this—where I anticipate events. But I don’t think it’s very much, really. I think a writer’s job is to provoke questions. I like to think that if someone’s read a book of mine, they’ve had—I don’t know what—the literary equivalent of a shower. Something that would start them thinking in a slightly different way perhaps. That’s what I think writers are for. This is what our function is. We spend all our time thinking about how things work, why things happen, which means that we are more sensitive to what’s going on.
—Doris Lessing, the Art of Fiction No. 102