The Daily

Posts Tagged ‘letters’

Te-thrum, Te-thrum

July 28, 2015 | by

Malcolm Lowry in the late thirties.

A letter from Malcolm Lowry to Conrad Aiken, sent in the winter of 1929. Lowry, who was born on this day in 1909, was so enamored of Aiken’s novel Blue Voyage that he attempted, with this bumptious letter, to strike up a correspondence; throughout, as if to prove his worth, he quotes liberally from Blue Voyage and Aiken’s poem “Palimpsest: A Deceitful Portrait.” It worked: the letter sparked a complicated, rivalrous mentorship that would last until Lowry’s death. By July of 1929, Lowry had already decamped to Cambridge, Massachusetts, for lessons from Aiken, who was twenty years his senior. Lowry called his first novel Ultramarine in parodic reference to Blue Voyage.

 

5 Woodville Road
Blackheath, London S.E. 3

I have lived only nineteen years and all of them more or less badly. And yet, the other day, when I sat in a teashop (one of those grubby little places which poor Demarest loved, and the grubbier the better, and so do I) I became suddenly and beautifully alive. I read … “I lay in the warm sweet grass on a blue May morning, My chin in a dandelion, my hands in clover, And drowsed there like a bee … Blue days behind me Reached like a chain of deep blue pools of magic, Enchanted, silent, timeless. Days before me Murmured of blue sea mornings, noons of gold, Green evenings streaked with lilac … ”

I sat opposite the Bureau-de-change. The great grey tea urn perspired. But as I read, I became conscious only of a blur of faces: I let the tea that had mysteriously appeared grow clammy and milk-starred, the half veal and ham pie remain in its crinkly paper; vaguely, as though she had been speaking upon another continent, I heard the girl opposite me order some more Dundee cake. My pipe went out. Read More »

In Which Mark Twain Perspires

July 20, 2015 | by

Sam Clemens in September 1867.

A letter from Mark Twain to John T. Moore, July 1859. Moore, also known as Tom, was an “old river man” and a longtime friend of Twain’s. More than twenty years later, in 1883, this note appeared in The Arkansas Traveler and was afterward reproduced by papers nationwide—a few weeks later, though, the Traveler’s editor, Opie Read, claimed it was a hoax, thus casting doubt on its authenticity. Today most Twain scholars believe it to be genuine, suggesting that the notion of a hoax was, itself, a hoax.

Memphis, July 6, 1859.

My Dear John:—

I have made many attempts to answer your letter which received a warmth of welcome perspiringly in keeping with the present system of hot weather; but somehow I have failed. Now, however, I screw myself down to the pleasant task. It is a task, let me tell you, and it is only by the courtesy of friendship that I can call it pleasant. Read More »

That Swaggering, Bouncing Pronoun

July 13, 2015 | by

John_Clare_by_WW_Law

The only known photograph of John Clare, taken by W. W. Law in 1862.

From John Clare’s letter to Eliza Emmerson, March 1830. Clare, born on this day in 1793, came from poverty and is sometimes dubbed “the peasant poet”; he’s known for his expansive poems on rural life and for his eventual turn toward insanity. By the end of his life, Clare had escaped from an asylum, and sometimes claimed to be Shakespeare, Lord Byron, or a prizefighter. This note, a polemic against the egotism of the first-person pronoun, was written in the midst of a deep depression seven years before he was hospitalized. By “points,” Clare means punctuation, which he disdained, thinking it an unnecessary hindrance to expression. Original spelling and punctuation have been preserved.
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A Very Interesting Excursion

June 29, 2015 | by

Looking for van Gogh in Belgium’s mining district.

the-sower-sower-with-setting-sun-1888

Vincent van Gogh’s The Sower, 1888, which was inspired by paintings by Jean-François Millet.

Earlier this month, Nellie wrote for the Daily about van Gogh’s time in the Borinage and its effect on his art. In this follow-up piece, she reflects on her own travels in the region.

On a sunny but cool afternoon in mid March, I stood on the muddy ground of a closed and abandoned mine in Belgium. Behind me, a handful of pigs screamed from inside a pen in one of the decrepit buildings. A large, lean, mean-looking dog, which in fact was not mean at all, stood nearby, tethered to a long rope.

It was my first time in this place, the former mining district of Belgium, called the Borinage, though I spent the nearly six years prior writing a novel that took place there. From 1878 to 1880, before he declared himself an artist, Vincent van Gogh lived in the Borinage, trying to be a preacher, and the story of what may have happened during that time is my novel’s subject. I didn’t go to Belgium while I was researching or writing the book—the mines are all closed these days and the area developed; I told myself there was no point in going if it didn’t look just like it had in the late nineteenth century. But Mons, the city that sits right at the tip of the Borinage region, is this year’s selection for the European Capital of Culture and, as a result, is home to all sorts of interesting exhibits and performances, including the first-ever exhibition of van Gogh’s work from and related to this period of his life: it opened, strangely, just a few weeks after my book had been published. It was a coincidence too odd to ignore, and I got on a plane to go see this place I had long imagined.

I have been struggling to articulate what this visit was like in any coherent way. I knew, all those years, that the place I was envisioning was real, but in my mind it was a place that no longer existed, a place to be conjured and imagined, not to stand on with two real feet. To be confronted with the reality of the place in physical space was quite a different thing. I expected that there would be nothing left. In a way I was right, and in a way very wrong. Read More »

Down Where the Asparagus Grows

June 16, 2015 | by

little-review

“The Little Review: A Magazine of the Arts―Making No Compromise with the Public Taste,” Vol. 4, No. 11, March 1918.

A letter from Ezra Pound to James Joyce, March 1918. Pound, then an editor for the New York magazine The Little Review, had arranged to serialize Joyce’s Ulysses; he feared its more scatological parts would result in confiscation from the government. The Egoist, a British magazine also running the novel in installments, had failed to find a printer willing to accept it.

The Little Review had already been suppressed once, in November 1917, for a piece by Wyndham Lewis; Judge Augustus Hand had banned it, citing a subsection of the U. S. Penal Code that likened prurient literature to information about contraceptives. “I confess to having been a bad citizen,” Pound had rebutted in print, “to just the extent of having been ignorant that at any moment my works might be classed in the law’s eye with the inventions of the late Dr. Condom.”
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Idle Bird

June 10, 2015 | by

Van Gogh finds art in the Borinage.

coalmine-in-the-borinage-1879(1)

Vincent van Gogh, Coalmine in the Borinage, 1879.

In October of 1879, Theo van Gogh went to visit his brother, Vincent, in the Borinage coal-mining district of Belgium. Theo was en route to Paris, where he had business to conduct as an art dealer; Vincent was doing self-appointed missionary work. The pair walked along an abandoned quarry that reminded them of a canal they’d frequented as children in Holland, but now there was an undeniable rift between them. Theo, upset by Vincent’s appearance—he had given away nearly all of his clothes to the miners, and had ceased bathing—told him, “You are not the same any longer.” He felt that Vincent was wasting his time in this squalid place, and suggested that he leave to take up a different trade.

Angry at his brother’s inability to understand him, Vincent wrote a letter to Theo on October 15 that would be the last for ten months. The brothers had been writing letters to each other almost unceasingly since 1872, when Vincent was nineteen and Theo fifteen. This would be the first and deepest rupture between them, a silence that would never repeat itself. Referring to Theo’s accusation of “idleness,” Vincent wrote with bitterness, Read More »