Posts Tagged ‘letters’
September 11, 2014 | by Dan Piepenbring
On September 11, 1906, D. H. Lawrence turned twenty-one. Around that time he wrote this letter to Louie Burrows, a friend with whom he attended University College in Nottingham. The letter dissects one of Louie’s essays about art; it finds Lawrence full of youthful arrogance (“Like most girl writers you are wordy”) and optimism (“the world abounds with new similes and metaphors”). Lawrence and Burroughs corresponded steadily for years; in 1910, they were engaged, though Lawrence broke off the engagement in 1912. (The “J” he refers to here is Jessie Chambers, another of his love interests.)
I am going to quizz [sic] your essay, not in the approven [sic] school-mistress style, but according to my own whimsical idea, which you may or may not accept. First of all I will find fault.
I do not like the introductory paragraph, it is like an extract from a Catalogue of Pictures for sale at some auctioneers … Like most girl writers you are wordy. I have read nearly all your letters to J, so I do not judge only from this composition. Again and again you put in interesting adjectives and little phrases which make the whole piece loose, and sap its vigour. Do be careful of your adjectives—do try and be terse, there is so much more force in a rapid style that will not be hampered by superfluous details. Just look at your piece and see how many three lined sentences could be comfortably expressed in one line. Read More »
August 27, 2014 | by Gary Panter
Remembering Ray Johnson through his pioneering correspondence art.
Ray Johnson thought he was ugly, but I thought he looked cool—just like Ray Johnson.
Being a teenage modern-art fan in Texas in the sixties, I was excited to learn of the New York Correspondence School from Eye magazine, or maybe it was Artforum or Print. Ray, whose early abstracted celebrity photos and painted collages I had seen featured in the pages of many histories of Pop, was encouraging artists all over the world to make and trade mail as an art activity, an idea readily appreciated in the midcentury’s burst of experimental and novel art approaches. Thousands of people began to send art objects to each other through the postal service.
My notion was that Ray didn’t make the first piece of mail art, but his creation of a school around that activity was the benediction for a folk-art movement in motion. Some of these letters were finished statements or handmade objects; others were exquisite corpses conducted by mail, objects that traveled and accumulated the mojo of human touch and attention as they were ever modified. The latter was the kind of thing Ray did: he mailed objects and letters and asked the recipients to add to them and then return them, or send them along to other destinations. Ray’s handmade work, cryptic and rarely seen, was striking, sure, but humorous, too, a quality I really like in art. It had a purposive childishness, but also a readily appreciable design rigor—a controlled looseness, beautiful color, shape and textural sense, a mastery of a private hieroglyphics of bunnies and goo-goo eyes. Read More »
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 »
June 10, 2014 | by Dan Piepenbring
- Spurred by Downton Abbey, fabulously wealthy people around the world have decided they must have butlers, and they must have them now. Jeeves must be rolling in his grave—even if he was technically a valet, and a fictional one at that.
- “The 1920s and 1930s in France were a moment when extreme ideological currents swept unstable, marginal, even criminal figures out of their ordinary recesses into positions of remarkable prominence.” Sounds awfully familiar…
- A helpful (or at least mildly diverting) graph shows us how often a given letter occurs at the beginning, middle, or end of a word. Y is nearly always at the end, never the start. Poor Y.
- In the forties, a woman named Frances Glessner Lee revolutionized crime-scene investigation with one simple innovation: dioramas.
- “After months of cleaning and painstaking scientific investigation, art specialists in Britain have apparently concluded a decades-long debate over the authenticity of a self-portrait by Rembrandt, saying on Tuesday that it was genuine.”
- Your next home: a decommissioned Boeing 727.
April 3, 2014 | by Sadie Stein
I am a Russian revolutionist and a freethinker. Here in America I became acquainted with a girl who is also a freethinker. We decided to marry, but the problem is that she has Orthodox parents, and for their sake we must have a religious ceremony. If we refuse the ceremony we will be cut off from them forever. Her parents also want me to go to the synagogue with them before the wedding, and I don’t know what to do. Therefore I ask you to advise me how to act.
Answer: The advice is that there are times when it pays to give in to old parents and not grieve them. It depends on the circumstances. When one can get along with kindness it is better not to break off relations with the parents.
You have probably heard of “A Bintel Brief,” the famous Yiddish advice column that ran in Der Forvertz, guiding several generations of newly arrived Jewish immigrants through the confusions of the new world. Penned by editor Abraham Cahan, the column, which has been anthologized, makes for evocative reading. It’s often heartbreaking and sometimes funny; the tersely definitive responses are compassionate and generally wise.
It was with great pleasure, then, that I came upon a copy of Liana Finck’s new graphic novel, A Bintel Brief: Love and Longing in Old New York. Finck illustrates a number of the “Bintel Brief” letters—from an educated young woman engaged to an old-world greenhorn; from a poor mother whose watch has been stolen by an even poorer friend; from a cuckolded husband—but she does more than that. She speculates about what might have happened to the writers. She illustrates unspoken byplay, read between the lines. She records her own reactions. In so doing, she brings an entirely new dimension to what has become, for modern readers, a portal into a world that feels impossibly distant. It is about nostalgia, yes—Finck would not have been alive when the column ran—but it is also about how we engage with the past. The letters alone feel like such an anachronism.
But are they? Funnily enough, I was reading through Finck’s book, which I have been meting out like a treat, when a friend sent me this. It’s gotten some exposure on Reddit, as one might expect.
There is one particularly moving letter that Finck chooses to illustrate, in which the survivor of a pogrom wonders whether to uproot his elderly father, now alone, and bring him to safety in America. Cahan wrote, “For various reasons we need to answer this heart-wrenching letter privately. The writer should send us his full address.”