Posts Tagged ‘Hermione Lee’
November 6, 2015 | by The Paris Review
The banker and poet Samuel Rogers (1763–1855) spent his life at the center of political and literary London. He knew everyone (both Wordsworth and Tennyson borrowed his court suit for royal occasions), and like the Brothers Goncourt—or a Regency Renata Adler—he had a nightly habit of writing up his dinner conversations. As Christopher Ricks observes in a preface to Rogers’s Table-Talk & Recollections, Rogers loved to repeat other people’s gossip. But he loved to record their quirks and sayings, too. Of the Whig leader Charles James Fox, for example: “Very candid—Retracts instantly—continually putting wood on the fire.” “He loves children.” “Josephine a very pleasing woman.” Most interesting for me are the private literary opinions of Rogers’s powerful friends, who talk about Milton, Pope, and the classics very much in the tone of late-night Dylanologists two centuries later, and at the same passionate level of detail. —Lorin Stein
While this may be remembered as the week virtual reality went mainstream, I found myself absorbed in a more time-tested medium—a portfolio of photographs, “Weather Man,” by Evgenia Arbugaeva. Arbugaeva, who grew up in the Russian Arctic, spent several weeks visiting a remote meteorological station in Khodovarikha, one in which data on wind speed, precipitation, visibility, water levels, and the like are still measured and recorded by hand—by Vyacheslav “Slava” Korotki, the station’s resident meteorologist. Slava lives and works in isolation, in a station built in, and by all measures still reminiscent of, 1933. Says Arbugaeva (and so her photos attest): “He doesn’t have a sense of self the way most people do. It’s as if he were the wind, or the weather itself.” —Stephen Hiltner Read More »
December 17, 2014 | by Bridget Read
Penelope Fitzgerald’s shifting reputation.
Penelope Fitzgerald would have been ninety-eight today. We should mark the occasion by remembering that it is not extraordinary that she became a prize-winning novelist, though you may have heard otherwise.
In 2008, Julian Barnes described Fitzgerald as a jam-making grandmother, carrying a plastic, purple handbag. “Many readers’ initial reaction to a Fitzgerald novel,” he wrote, is, “ ‘But how does she know that?’ ” He said that he has reread the first scene of her book The Blue Flower (2000) many times, “always trying to find its secret, but never succeeding.”
And most everyone knows the story of the Booker dinner in 1979, to which Fitzgerald supposedly wore a flannel housedress. When she beat out V. S. Naipaul for the prize with Offshore, Robert Robinson of Book Programme proposed that the judges had made the wrong choice.
Then there’s Michael Dibdin, who once compared Fitzgerald to Jane Austen, of whom Lord Grey of Fallodon said something like, How astonishing that, despite the dullness of her life, she should write not only one novel, but several, and they are very good, too. Didbin was also incredulous of The Blue Flower: “How on earth was this done?” Read More »
August 26, 2014 | by Nicole Rudick
Congratulations to Hermione Lee, who has won the 2014 James Tait Black Prize for her biography of the Booker Prize–winning novelist Penelope Fitzgerald. One judge described Lee’s biography as “a masterclass in writing of this type … the perfect marriage of an excellent subject and a biographer working at the very top of her game.”
Lee was at work on the book during her Art of Biography interview last year: in the course of their conversation, Louisa Thomas discovers a blanket-covered box that contains the Fitzgerald family archive. Though Lee denies having set out to be a “woman writer writing about women writers,” she has almost exclusively chosen women authors as her subjects. Still, for a biographer of Woolf, Cather, Wharton, and Bowen, Lee found Fitzgerald to be a special case:
I don’t have a theory about Penelope Fitzgerald. I’m deeply interested in the shape of her life, and I’m fascinated by lateness, late starts. She didn’t start publishing novels until she was sixty, for a variety of reasons. I feel there was a powerful underground river running through her life. She was a brilliant young woman, and everybody thought she was going to be a writer and she was writing away like mad in her teens and early twenties, and she was the editor of a magazine. And then it all went underground. Meanwhile, she’s writing notes in her teaching books, which are a form of apprenticeship, and she’s bringing up her family, and she’s coping with her husband. And then he dies. And then up it comes, this underground river, at the age of sixty, and she writes thirteen books in twenty years. I don’t have a theory about that. Nor do I want to blame anyone. But I want to understand it and show it happening as best as I can.
The complexity of women’s lives is, naturally, at the center of Lee’s interview, and it’s a thread that connects Lee to her subjects intimately. The first woman to hold the Goldsmiths’ Chair and the first woman president of Wolfson College, Oxford, she recalls walking across the grass of New College and thinking of Virginia Woolf, who, in trespassing momentarily on the lawn, was chased off by a beadle. As Woolf writes in A Room of One’s Own, “Instinct rather than reason came to my help, he was a Beadle; I was a woman. This was the turf; there was the path. Only the Fellows and Scholars are allowed here; the gravel is the place for me.”
Lee, however, feeling the benefit of the “strenuous labors of my female predecessors,” can stray from the path; she makes a point of walking across the grassy quad, because “I had the right to be there.”
December 17, 2013 | by Sadie Stein
“Everyone in Penelope Fitzgerald’s family called her Mops, no one ever called her Penelope unless they met her later in life. And she didn’t like the name Penelope. But it would seem very peculiar for me to call her Mops all the way through.” —Hermione Lee, the Art of Biography No. 4
May 28, 2013 | by Lorin Stein
The proofs of our Summer issue just arrived at Twenty-Seventh Street from the printer. This afternoon is our last chance to catch any mistakes. You always find a few typos—and we have more names to spell-check than usual, because this issue contains more stories, poems, and interviews than any in recent memory.
Some of these writers are regular contributors, including Lydia Davis—with her first publication since she won the 2013 Man Booker International Prize for fiction—and David Gates, whose new story is a favorite of his and ours. Others are writers we’ve been waiting to publish for a while, namely Ben Lerner, whose first novel, Leaving the Atocha Station, is one of the best debuts we’ve seen in the past few years, and Kristin Dombek, whose essays in n+1 electrified us. The newly translated stories by Robert Walser are from his groundbreaking 1904 collection, Fritz Kocher’s Essays. This book (which won the admiration of Franz Kafka and Walter Benjamin) made me feel for the first time that I understood what all the fuss is about.
Still others, including Emma Cline, Gillian Linden, and the Italian poet Patrizia Cavalli—translated by the likes of Jorie Graham and Mark Strand—are new to us and will probably be new to you. We look forward to saying, You read them here first.
Plus, three interviews.
Two are devoted to the art of literary biography. Michael Holroyd’s lives of Lytton Strachey and George Bernard Shaw, among others, revolutionized the study of Bloomsbury and Edwardian literary history.
I am a great believer in private life, which is quite unfashionable now—to be a celebrity is the thing, or you are nothing. But I believe in private life for the living, and I think that when one is dead one should be a little bit bolder, so that the rest of us may have some record of how things actually were. Otherwise we will be left with well-meant lies, which add to the difficulties of life and lead to real misunderstanding.
Hermione Lee’s biographies of Virginia Woolf, Willa Cather, and Edith Wharton are just as influential.
What is it like to write a death scene?
It depends how they died. Some cynical biographer said to me, Make sure it’s a good death. Make sure you’re not picking someone who just declined.
Finally, we have an Art of Fiction interview with the Nobel laureate Imre Kertész. It is, according to Kertész, the last interview he will ever give. Luisa Zielinski’s probing, sensitive questions explore the reasons that Kertész—ten years after he survived the Holocaust—decided he had to write.
Look, I don’t want to deny that I was a prisoner at Auschwitz and that I now have a Nobel Prize. What should I make of that? And what should I make of the fact that I survived, and continue to survive? At least I feel that I experienced something extraordinary, because not only did I live through those horrors, but I also managed to describe them, in a way that is bearable, acceptable, and nonetheless part of [a] radical tradition … Perhaps I’m being impertinent, but I feel that my work has a rare quality—I tried to depict the human face of this history, I wanted to write a book that people would actually want to read.
February 8, 2013 | by Sadie Stein
Here in the Northeast, we are all hunkering down for what could be a lot of snow, or at least a little slush. Either way, it will be a weekend for staying indoors with a good book, and we asked some of our bookish friends what they recommend for such occasions.
I Capture The Castle, by Dodie Smith, and Laurie Colwin! —Emily Gould, writer, founder of Emily Books
I am reading a dated but rad detective novel called The Daughter of Time, by Josephine Tey, wherein a detective laid up in the hospital clears King Richard III of the crime of murdering his nephews using deductive logic and dubious speculation. This is part of my ongoing celebration of Richard III’s skeleton’s coming-out-the-closet or whatever you call it. Otherwise keeping busy with hoarding seltzer/Snackwell’s vanilla cremes. So this is a pretty normal weekend for me. —Pete Beatty, editor
Right now I find myself on page 1400 of Proust, by circumstance. Hoping to make some real headway in the next forty-eight. (Yesterday I was reading it on the A train, and this woman got down on her knees to look up to see what was the giant book I had in my hand. Like, she could have asked. Maybe she was saving me the pretension of responding, “Proust.”) —Brian Ulicky, publicist Read More »