Posts Tagged ‘Gertrude Stein’
September 14, 2012 | by The Paris Review
Even if you’ve never read a book about the Civil War, the Personal Memoirs of U.S. Grant will grip your imagination. Dictated by Grant on his deathbed, championed and published by Mark Twain, celebrated by Matthew Arnold and Edmund Wilson (who compared it to Walden and Leaves of Grass), the Memoirs were cited by Gertrude Stein as a main influence on her own prose. However you may write, you'll find their power is contagious. Every page is a lesson in force, clarity, and grace under pressure. To read Grant’s description of a military problem, then to read the orders he gave, is, among other things, to see a great modern writer at work. —Lorin Stein
Have you ever imagined a music video as you listen to a song? Sigur Ros asked a dozen filmmakers to do just that with songs from their new album. The results are pretty great, but my favorite—and I’m hardly impartial—is Dash Shaw’s animated (I mean that literally) take on “Valtari.” Penned with Shortbus and Hedwig writer John Cameron Mitchell, the video features backgrounds by Frank Santoro, whose colors are, as ever, divine. —Nicole Rudick
If you’re in agreement with a friend of mine who considers most recent American covers of Cormac McCarthy’s novels “oversaturated Windows wallpapers” (why yes, Cormac, that horse is very pretty), then perhaps you will be both pleased and envious to know that the British ones now look like this, and apparently have for some time. Thanks to the now-defunct Aesthetic Book Blog for this gritty eye candy. And check out The Millions’ annualish comparison of American and British book covers for further contemplation. —Samuel Fox
July 19, 2012 | by Stephanie LaCava
“Damned good-looking” is how Ernest Hemingway—or, rather, his antihero Jake Barnes in The Sun Also Rises—describes Lady Brett Ashley when she appears at a Parisian club with a mob of pretty boys. “Damned good-looking” is better than pretty. It’s better than the colloquial “hot,” better than beautiful, even.
Damned good-looking, it is.
Imagine Hemingway, the great economist of words, deciding just how he would introduce perhaps his most enduring siren. Original drafts of the novel open with the character Ashley (better known as Brett), though she would eventually come to play a smaller role. Hemingway was bewitched, at the time of writing, by the self-possession of the real-life Lady Duff Twysden, and she—rather than his wife, Hadley—would serve as the partial inspiration for The Sun Also Rises’s heroine. (Indeed, he would dedicate later editions of the novel to her.)
June 12, 2012 | by The Paris Review
May 2, 2012 | by Sadie Stein
May 1, 2012 | by Sadie Stein
April 6, 2012 | by The Paris Review
“Some poems smack of a gentility one would like in some moods to smack out of them.” Even before I read that sentence—about the sainted Elizabeth Bishop!—I knew Maureen McLane was the poetry teacher for me. Her first book of criticism, My Poets, is the survey course of my dreams: a long, loving argument with and about everyone from Chaucer to Gertrude Stein. As befits her subject, McLane is both plainspoken and lyrical, falling at times, as if naturally, into verse as clear as her prose. —Lorin Stein
I remember a college professor commenting that he was never sure Stephen Crane “knew what he was doing” when he dropped all sorts of clues and oddness into his stories. I had the same thought while reading Barbara Comyns's 1959 book, The Vet's Daughter. Does all this strangeness serve a purpose? Does the bizarre ending mean something? Whether the answer is yes or no, I still enjoyed the novel more than anything I’ve read in months, and I’ve already ordered the rest of her books. —Sadie Stein
Robert Caro—never disappointing—had a particularly good piece in the April 2 edition of The New Yorker, on John F. Kennedy’s assassination but from LBJ’s perspective. It’s a bizarre and fascinating tale of how history is formed both by monumental events and by intimate details. And that famous photograph of his swearing in—as he stands grim-faced and flanked by Lady Bird and Jackie—will never look the same to me again. —Nicole Rudick
It wasn’t the intimidating length or experimental style that had me wondering, Wait, what?, when reading Finnegans Wake. It was my damned curiosity about the “careful teacakes” that Joyce introduces. My foodie heart salivated at the thought—where do I get one of those? Luckily, I stumbled upon A Trifle, a Coddle, a Fry: An Irish Literary Cookbook last weekend and was thrilled to find a recipe for these mysterious treats alongside sixty-six other recipes gathered from food references in the writing of twelve Irish authors, including Beckett and Shaw. Crack it open for a satisfying literary and gastronomic adventure, and let the sating begin. —Elizabeth Nelson
Masha Gessen’s The Man Without a Face: The Unlikely Rise of Vladimir Putin has kept me up the last three nights. —L.S.
This week I attended a reading of Dante’s Inferno inside Saint John the Divine cathedral, a massive Gothic-revival church near Columbia University. If you missed it, mark the date. It happens annually on Maundy Thursday (which, for those needing to brush up on their Christian calendar, commemorates the day of the Last Supper). It was awesome, in the old-fashioned sense of the word. A wooden pew is really the only place one should learn about Hell. —Allison Bulger