Posts Tagged ‘Lydia Davis’
June 3, 2015 | by Dan Piepenbring
Before we commence with the dog and pony show for our brand spanking new Summer issue, you should know that the three interviews from our Spring issue are now available in full online.
These include the first-ever in-person interview with Elena Ferrante, who discusses her Neopolitan Novels, her reticence as a public figure, and her approach to her readership:
I publish to be read. It’s the only thing that interests me about publication. So I employ all the strategies I know to capture the reader’s attention, stimulate curiosity, make the page as dense as possible and as easy as possible to turn. But once I have the reader’s attention I feel it is my right to pull it in whichever direction I choose. I don’t think the reader should be indulged as a consumer, because he isn’t one. Literature that indulges the tastes of the reader is a degraded literature. My goal is to disappoint the usual expectations and inspire new ones.
And Mona Simpson’s interview with Hilary Mantel, who talks about her Cromwell books, the difference between historians and novelists, and the difference between the early and contemporary stages of her career:
When I began writing I had a perfect belief that, although I might not know how to do many things, I did know how to write a novel. Other people might have disputed that, looking at my efforts, and no one was in a hurry to endorse my confidence, but I did know within myself that I could write a novel. The reason was I’d read so many that the pattern was internalized. I’ve always been an intensely ambitious individual and whatever I was going to do, I was not going to let go until I got where I thought I ought to be. It’s a question of, What will you sacrifice? What other things will you let go, to clear the space for your book? What develops later is something rather different, as you proceed from book to book, every book throwing up different demands, needing different techniques.
Plus, in the Art of Fiction No. 227, Lydia Davis explores her approach to the short story, and to translations, and reflects on the influence her family life had on her process:
We also left each other notes when there was a family conflict. I guess it was my mother’s idea that we should put it in writing, or that we should articulate it, because I can see our different handwriting going back and forth over this problem, whatever it was. I thought it was kind of a terrible thing that we did that in my family. Because it made writing ... oh, the text became full of emotion. I still have some of the notes that my mother left for me. In fact, we did a little dialogue … I suppose that was part of the family training—Let’s try to figure this out. Here’s how I feel, you tell me how you feel. It is a way to work out some emotional situations, and certainly that went on in our house. It’s just that when I come across those long messages from my mother it fills me with sadness.
For the latest in our Writers at Work series, subscribe to The Paris Review now—and be sure to check out what’s coming next in our Summer issue, which includes interviews on the Art of Translation with Peter Cole plus Richard Pevear and Larissa Volokhonsky.
May 18, 2015 | by Gunnhild Øyehaug
This Thursday, Gunnhild Øyehaug appears in conversation with James Wood and three more of Norway’s most promising young writers: Kjersti Annesdatter Skomsvold, Lars Petter Sveen, and Carl Frode Tiller. The story below was translated by Lydia Davis, who will interview Dag Solstad on Wednesday at Westway.
Both events are part of the Norwegian-American Literary Festival, a three-night series of readings, conversations, and musical performances in New York this week.
April 28, 2015 | by Dan Piepenbring
You may have noticed a Knausgaard theme on the Daily today, between our interview with his translator Don Bartlett and Ian MacDougall’s probing analysis of the author’s scatological side. We’re celebrating the release of My Struggle’s fourth volume—but we’re also celebrating the latest Norwegian-American Literary Festival, a series of readings, conversations, and musical performances coming to New York for three nights next month.
The festival begins on Wednesday, May 20, at the Westway in the Meatpacking District, where Karl Ove Knausgaard’s reunited college band, Lemen, will take the stage. James Wood’s band, the Fun Stuff, will perform, too, and Lydia Davis will begin the night in conversation with Dag Solstad about writing family history. Solstad is one of Norway’s preeminent writers, the author of thirty-three books translated into thirty languages. Davis learned Norwegian by reading his latest novel, a four-hundred-page epic whose title translates, roughly, as The Insoluble Epic Element in Telemark in the Period 1591–1896. Read More »
April 9, 2015 | by Dan Piepenbring
- Writers love to hate M.F.A.s; they also love to brag about them. Are the degrees worthless? Essential? Expansive? Detrimental to one’s creative impulses? “It’s no surprise that the promise of the M.F.A.—to make you, if you’re lucky, a famous, well-paid author—strikes so many people with even the smallest literary dream as utterly irresistible.”
- To master the subtleties of another language is no mean feat—and getting prepositions right is often the most frustrating part. They can seem entirely arbitrary: “Spaniards dream with (not about) something. In the unlikely event that Germans schedule something at an approximate time, it is gegen (against) seven o’clock, not about or around. The ancient Greeks, progenitors of western logic, had many prepositions that do bizarre double duty to the English eye: meta means both with and after; kata means both according to and against.”
- Lydia Davis, meanwhile, has faced struggles of her own in learning Norwegian: “You see how you are suddenly able to unlock so many words, just by studying the pattern? Take the words beginning with ‘Hv.’ I guessed they were used in questions: ‘hva’ meaning ‘what’, ‘hvorfor’ meaning ‘why’. But it took me a long time to figure out ‘hvis’ was ‘if.’ ”
- Then there are contranyms, auto-antonyms, antagonyms, Janus words, and/or antiologies—words that can function as their own opposites. Take no, for instance, which increasingly means yes. (Only, mind you, in certain situations.)
- Dan McPharlin makes art “derived from blueprints laid down decades earlier on the pages of battered sci-fi paperbacks, fantasy art books, and mid-century design quarterlies.”
- On the “mind-numbing chatter” of the art world: “There is a debate about whether or not something ‘posits something about its ability to posit something.’ One critic tells a student, ‘You have to make better paintings fail.’ One exchange between student and critic involves the critic demanding, ‘What does that paint can stand for, in that painting?’ When the student doesn’t reply, the critic continues, ‘Stop squirming! Is there a political implication to this paint can or not?’ ”
March 2, 2015 | by The Paris Review
We also have the first-ever in-person interview with Elena Ferrante, on the art of fiction:
As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me … At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them … Even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men.
And Lydia Davis, on her approach to the short story, to translation, and to naming:
I’ve always felt that naming was artificial. I’ve done it. I wrote about one woman and called her Mrs. Orlando, because the woman I based her on lived in Florida. Recently I wrote a story called “The Two Davises and the Rug” because I have a neighbor named Davis and he and I were trying to decide which one should end up with a certain rug, and I was very fond of using that name, even though it wouldn’t make much difference to anybody if I called it “The Two Harrises and the Rug.”
Plus, Hilary Mantel discusses her Cromwell books and the difference between historians and novelists:
Nobody seems to share my approach to historical fiction. I suppose if I have a maxim, it is that there isn’t any necessary conflict between good history and good drama. I know that history is not shapely, and I know the truth is often inconvenient and incoherent. It contains all sorts of superfluities. You could cut a much better shape if you were God, but as it is, I think the whole fascination and the skill is in working with those incoherencies.
There’s new fiction by Angela Flournoy, Ken Kalfus, and Mark Leyner, the winner of this year’s Terry Southern Prize; a novella by James Lasdun; and poems from Charles Simic, Peter Gizzi, Major Jackson, Stephen Dunn, Susan Stewart, Shuzo Takiguchi, Craig Morgan Teicher, and Sarah Trudgeon.
Mel Bochner, who designed a cover for the magazine back in 1973, is back with a portfolio of thesaurus paintings. And last, there’s “Letter from the Primal Horde,” an essay by J. D. Daniels about a fateful experience at a group-relations conference.
February 13, 2015 | by The Paris Review
Among the more consistent sets of questions to appear in Paris Review interviews are those regarding one’s influences. It’s a funny line to track throughout the Writers at Work series—and one, I’d venture, that often says a lot about a given writer’s ego. (Watch, for example, as Robert Frost bristles at the suggestion of an affinity between his work and that of Faulkner or Wallace Stevens, or as Nabokov denies having learned anything from James Joyce.) But aside from allowing for the pleasure of watching certain writers shift in their seats, these kinds of questions can also introduce me to writers I haven't heard of, or writers I should have paid more attention to. In her soon-to-be-published Art of Fiction interview, Lydia Davis cites her discovery of Russell Edson’s stories—“He would call them poems,” she says, “but I wouldn’t”—as a major turning point in the development of her style. I couldn’t help but dart off to find a few myself, much to my enjoyment. —Stephen Andrew Hiltner
When Fifty Shades of Grey was first published, it was a cheap thrill to watch the critical bons mots pile up—we had the book reviewers’ equivalent of a home-run derby, with zingers for dingers. I remember Andrew O’Hagan, writing in the LRB, taking aim at the novel’s arrantly vanilla kinkiness: “I suspect the book has taken the world’s mums by storm because there’s no mess on the carpet and there are hot showers afterwards. Everybody is comfortable and everybody is clean: they travel ﬁrst-class, the rich give presents, the man uses condoms, and everything dark is resolved in a miasma of cuddles.” Now the film is out, and another team of critics is at bat. It’s too early to declare a winner, but surely bonus points should be awarded to those who manage to trash the book and the movie in one fell swoop, as Anthony Lane has. “We should not begrudge E. L. James her triumph,” he writes, “for she has, in her lumbering fashion, tapped into a truth that often eludes more elegant writers—that eternal disappointment, deep in the human heart, at the failure of our loved ones to acquire their own helipad.” —Dan Piepenbring
William Vollmann’s piece in this month’s Harper’s, “Invisible and Insidious,” focuses on the fallout, both nuclear and financial, of the Fukushima radiation leak. The media wants big, explosive stories, but that’s not the way nuclear fallout works, as evident by the climbing numbers, “one or two digits per day,” on the dosimeter Vollmann keeps in his house in Sacramento, California. On several trips to Japan, Vollmann ventures near the “Forbidden Zone,” the twenty-kilometer radius around Plant No. 1, whose level of radioactive contamination makes the area “unlivable.” Most striking, as always, is Vollmann’s attention to the poor people in the area surrounding Fukushima—those whose businesses are failing, those on the hook for mortgages, and those among the 150,000 nuclear refugees. When NPR asked him about his extreme form of immersion journalism and whether he was worried about the radiation he’d exposed himself to, Vollman said, “I’m an older person … I’m going to die in any event, so I have less to fear. And I would really like to try to do some good in the world before I die and, you know, if I get cancer as a result, it’s no real loss. The more I see of, you know, the disasters that nuclear power can cause, the more I think I would really like to describe this and help people share my alarm.” —Jeffery Gleaves
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