Posts Tagged ‘Emily Bronte’
September 6, 2016 | by Dan Piepenbring
- If you’re in Paris, you have only a few more days to catch Michel Houellebecq’s exhibition at Palais de Tokyo. Hot insider tip: bring a pack of cigarettes—you can smoke them on the premises. True, much of his art is devoted to his beloved pet corgi, Clément, who is no longer with us. (Miss you always, Clem!) But there’s also, as Chinnie Ding writes, plenty of art that wouldn’t feel out of place in the pages of The Map and the Territory: “Vaguely oceanic sounds and slowly throbbing lighting carry us through some corridors where Houellebecq’s photographs of anonymous terrain glow and dim to the steady soporific rhythm of a fogged-out distress signal or a drowsy peep show. An all-female island-themed soft-core short, La rivière (The River), 2001, directed by the author, plays in a carpeted baisodrome In the next room, eyes adjust to blindingly glossy souvenir place mats advertising scenic French regions, such as Guadeloupe and Bretagne, which tile the floor and rebrand the nation as one turquoise-skied terroir. [Robert] Combas has contributed several glinting, convulsive paintings that look like religious icons becoming unhinged. All this nervous enjoyment, culminating in a functioning smoking room, seems convinced of an unusable past and a fait accompli.”
- Tired of novels? I don’t blame you. Read one, you’ve read them all. It may be wise to get your fiction as you get everything else—from corporations. John Lanchester makes a good case for the literary appeal of correspondence between CEOs and shareholders: “From the literary-critical point of view, there is always going to be a difficulty with the genre of the investor’s letter. What we’re dealing with here, in essence, is rich people wanting more money. That creates issues of tone. The attempted solutions to the problem change over time, just as financial fashions change … These letters are performances, attempts at persuasion: they are trying to get someone to do something. The desire to make money is always sincere, but not everything else is.”
August 30, 2016 | by Jonathon Sturgeon
- Given our newfangled penchant for the darker arts, it’s probably time for a James Merrill revival. I do not mean this literally: we should not raise James Merrill from the dead. Still, we might commune with him. To aid our spiritual discourse, Dwight Garner points out, we should turn to the Ouija board, the supposedly harmless instrument Merrill used to write The Changing Light at Sandover. As it happens, Merrill’s own biographer, Langdon Hammer, recently dusted off his Ouija, although he was too ravaged by paradox to contact the poet: “We didn’t try [to commune with Merrill]. I guess it seemed beside the point. Who had invited us to the table and sat us down at the board if not James Merrill? We were already in contact ... Looking back now, I think the board had a point to make. Using it puts you in touch with the soul. But it’s not the soul as we normally think of it—something singular and deep inside you. According to the Ouija board, it takes two people to create the soul, and it exists out there, between and beyond them.”
July 30, 2014 | by Dan Piepenbring
It’s Emily Brontë’s birthday, and wouldn’t you know it—of her famously scarce surviving documents, several are letters written on and about the anniversary of her birth. Imagine! Rare glimpses into the thoughts of the most inscrutable Brontë sister! As Robert Morss Lovett wrote in The New Republic in 1928, Emily “was the household drudge … the ways by which her spirit grew into greatness and by what experience it was nourished, remain a mystery.”
And her biography at the Poetry Foundation deepens the mystique:
She is alternately the isolated artist striding the Yorkshire moors, the painfully shy girl-woman unable to leave the confines of her home, the heterodox creator capable of conceiving the amoral Heathcliff, the brusque intellect unwilling to deal with normal society, and the ethereal soul too fragile to confront the temporal world.
Let us turn, then, with not undue trepidation, to the letters themselves, precious reflections from one of English fiction’s brightest luminaries. A note from July 30, 1845, begins: Read More »
July 30, 2013 | by Sadie Stein
Close watchers of this space may observe that we have, in the past, posted the iconic video for “Wuthering Heights.” But when we realized that today was not just Emily Brontë’s birthday but also Kate Bush’s, well, you can see that we had no alternative.
October 11, 2011 | by Nicole Rudick
Kate Beaton makes comics about the Bröntes, Canadians, fat ponies, the X-Men, Hamlet, the American founding fathers, Raskolnikov, gay Batman, Nikola Tesla, Les Misérables, Nancy Drew, Greek myths, and hipsters throughout history. Little is spared her lively pen and waggish, incisive wit. Born in Nova Scotia, Beaton studied history and anthropology, discovering through her university’s newspaper that she could put her knowledge of people, places, and dates to work in a humor column and, later, in comic strips. In 2007, she launched Hark! A Vagrant, which now receives more than a million hits each month. Her new book, of the same name, lampoons Kierkegaard, lumberjacks, Marie Curie, Jay Gatsby, Anne of Cleves, Oedipus, and everyone in between.
Do you remember the first comic you drew in college?
It was about Vikings! Vikings invading the school campus. It was a how-to guide for dealing with this breaking news. The Vikings were very interested in biology class, apparently. In comics, everybody is an expert in their own sense of humor, so either you’re funny to someone else or you’re not. And it’s putting yourself out there quite a bit for someone who is a little bit shy, which I was. I didn’t put my name on the first comics I submitted in case people hated them. You don’t want to be that person who’s unfunny. Trying to be funny and not being funny? That’s awful.Read More »