Posts Tagged ‘Madame Bovary’
February 4, 2013 | by Sadie Stein
August 27, 2012 | by Charlotte Strick
Joanna Neborsky is a book lover’s illustrator. She may be as passionate and romantic about books and bookmaking as anyone I’ve met. She also draws the kind of pictures I’ve always wanted to make. They are deceptively simple due to the naive charm of each wobbly line, and they owe a great deal to the inspiration of mid-twentieth-century illustration—an obsession she and I both share. A few years ago Joanna and I collaborated on the cover of John Bowe’s Americans Talk About Love. A recent art school grad, she was willing to endlessly modify caricatures of the people interviewed for the book. The final package made for a witty and accessible take on social history. I always urge the artists I work with to keep me apprised of new projects, and so a few weeks ago I was tickled to discover a jpeg of Joanna’s poster “A Partial Inventory of Gustave Flaubert’s Personal Effects, As Catalogued by M. Lemoel on May 20, 1880, Twelve Days after the Writer’s Death” in my inbox. We had to share it with readers of The Paris Review, and now I wanted to share a little about how it came to be.
May 10, 2012 | by Sadie Stein
April 13, 2012 | by Lorin Stein
I’m a second-semester senior in high school and currently find myself with a lot of empty time. I also have an open summer ahead with plenty of time to read books. Do you have any novel recommendations for someone about to enter college?
Our friends at n+1 devoted an entire pamphlet to the question, more or less: What We Should Have Known. Our advice is more equivocal: the main thing is to have a whole bunch of books so you can switch if you get bored.
With that caveat, and in no special order: To the Lighthouse, Sons and Lovers, Howard’s End, Invisible Man, Brideshead Revisited, Girl in Landscape, Pnin, Rebecca, The Crying of Lot 49, The Broom of the System, Two Girls, Fat and Thin, Portnoy’s Complaint, War and Peace, Crime and Punishment, The Transit of Venus, The Death of the Heart, The Tetherballs of Bougainville, Home Land, Cane, As I Lay Dying, The Sun Also Rises, Confessions of a Mask, The Savage Detectives, The Picture of Dorian Gray, Marius the Epicurean, First Love, First Love and Other Sorrows, and Moby-Dick.
I recently read Lolita and have since been obsessed with Nabokov. What are other Russian novels, or to broaden the list, European novels that you would recommend?
Have you read others novels by Nabokov? My favorite is Pnin (see above). The tricky thing about your question is that no European writes like him—or if they do, it’s in a language I can’t read. The most Nabokovian writer I know is John Updike, but he’s American. Try the Rabbit books. You might also like Javier Marías: start with A Heart So White. And if what you really want is European, magisterial, and ironic, there’s Lydia Davis’s new translation of Madame Bovary. Nabokov almost certainly wouldn’t approve of the translation—he never approved—but I think he would disapprove less than of the others. Read More »
August 5, 2011 | by The Paris Review
Let America wonder about Untitled by Anonymous—I got my Madoff fix in Paris, from a profile in XXI magazine. A quarterly devoted to long-form journalism, with generous helpings of fact-based bandes dessinées and photo essays reminiscent of the old National Geographic, XXI has been a somewhat unlikely hit with readers and bookstores. The magazine runs no ads, has no publicity department, conducts no market research, has minimal Web presence, and offers no discount to subscribers. As cofounder Patrick de Saint-Exupéry explains, “The magazine’s worth what it’s worth.” —Lorin Stein
I’ve been reading Beryl Bainbridge’s last novel, The Girl in the Polka Dot Dress, which was published posthumously this year. It’s strange and bleak and interesting, a little disturbing. It’s apparently based on Bainbridge herself, as well as the mysterious woman rumored to have been involved in Robert F. Kennedy’s assassination. —Sadie Stein
This weekend I plan to check out the Lucian Freud show at the Met. Freud, who died in July, once said, “I paint people, not because of what they are like, not exactly in spite of what they are like, but how they happen to be.” He’s not for everyone, and that’s a good thing. —Cody Wiewandt
I’m currently working my way through this little audio treasure: forty years of Polish experimental radio. —Natalie Jacoby
I’ve been flipping through Nabokov’s annotated copy of Madame Bovary at the Berg Collection in the New York Public Library. If Flaubert’s prose doesn’t astound, then Nabokov’s illustrations of Emma Bovary’s chignon, his passing jibes at less than adequate translators, and the chronological maps of the author’s life will. —Mackenzie Beer
The relaunch of Take the Handle—an “online hub of rascalism, repartee & recreation”—includes short pieces by former Review editor Nathaniel Rich as well as an interview with the makers of Plimpton!, the forthcoming documentary of the Review’s first editor. —Deirdre Foley-Mendelssohn
In Paris I found myself reading several postbreakup novels: After Claude (thanks, Sadie!), plus two books by Jean-Philippe Toussaint about a recurring ex-girlfriend named Marie. (My favorite, The Truth About Marie, comes out next month.) Toussaint has been described as a writer of nouveaux nouveaux romans, but he is dreamy and funny and haunted in a way all his own. —L. S.
The New York Post outdid itself with this piece of reportage. —S. S.
October 4, 2010 | by Lydia Davis
I wrote the first draft of Madame Bovary without studying the previous translations, although I gathered them and took the occasional peek. Up to the front door would come Andy, our cheerful rural mail carrier, with yet two more packages—this time, Alan Russell’s Madame Bovary (a British Penguin Classic from 1950) and the volume of Flaubert’s letters that covered the period in which he was writing Madame Bovary. Reading the letters was a bright wide-open window on Flaubert the man—far better than any biography. I read them to know him better and to hear him grumble, usually, about the novel and the experience of writing it. Most of his letters were to his lover, the poet Louise Colet, and it was really too bad for all of us when they broke up two-thirds of the way through the writing of the book.
I did not study the other translations during my first draft because I had to establish my own style and my own understanding of what I was reading before I could risk the rhythms and eccentricities of the others striking my ear and possibly creeping into my prose. (As in translating Proust Swann’s Way and most of the previous books I had done, I also did not read ahead more than a paragraph or at most a page, so that the material would be a surprise to me, and fresh.) Then, in the second draft, as I revised what I had written, I looked again and again at the previous translations—sometimes at all of them, in the case of a particularly sticky problem, but usually at five or six that were proving useful in different ways. Over time, I began inevitably to imagine the translators.
The Joan Charles translation (an abridged Garden City Book Club edition from 1949) follows the original very closely—she wouldn’t dream of adding or omitting material with the self-confident and rather presumptuous writerly flair of, for instance, Francis Steegmuller (American, 1957) or Gerald Hopkins (English, 1948), authors of the two “classic” and popular translations of Madame Bovary—one for each side of the Atlantic. Nor does she rearrange the sentences much.
For a while I liked Joan Charles—I saw her as prim, correct, neat, sober, honest, frank, clear-eyed. I thought of her as a sort of ally in what I was trying to do. I thought she was unjustly ignored and passed over by the later translators, who didn’t mention her. Then I became somewhat disillusioned, as she made the occasional mistake and tended to lapse into a rather wooden style. Eventually I came to see her as tight, humorless, thin as a rail. She must have lived through World War II in England, was perhaps in London during the Blitz, endured food rationing, etc. She was perhaps not very attractive, perhaps horsey? Bad teeth? Always in a cardigan sweater, putting shillings in the gas meter? Then again, this may be unfair—she may have been lovely. Read More »