Posts Tagged ‘marriage’
February 14, 2014 | by Dan Piepenbring
- In Taiwan, a commemorative Valentine’s Day train ticket sold out in less than an hour: it takes you from “Dalin (大林, pronounced similarly to ‘darling’ in English) station in Chiayi County to Gueilai (歸來, literally: ‘come back’).” A journey any of us should be willing to make after we’ve behaved badly. It’s love on a real train.
- Voltaire in love: “She understands Newton, she despises superstition and in short she makes me happy.”
- But we can count on literature to remind us that things are not always so sweet. Here are the ten unhappiest marriages in fiction.
- Can atrocity be the subject matter of poetry? Our poetry editor, Robyn Creswell, on Carolyn Forché’s new anthology.
- “I also like to catch dangling modifiers, because we all miss those … I have had authors who say that dangling modifiers are part of their style and don’t want to change them.” An interview with a crackerjack copyeditor.
February 11, 2014 | by Diane Mehta
The deceptively breezy poems of Stevie Smith.
Stevie Smith’s playful, carnivalesque poems, tiny on the page but emotionally trenchant, are getting a new life—her Best Poems were reissued in December.
It’s high time. Smith’s work has been nearly forgotten, her books having fallen out of print. She is not, on the surface, tenderly lyrical or feminist enough to court contemporary readers. Born in England in 1902, she enjoyed some popularity in the sixties for oddball performances of her poems, which she often sang, or read with spooky dramatic flair, but she might just have been too original, or too variegated, for any one school of poetry to champion her work. Perhaps she has also been dismissed because she comes off as cold and hard, a person of uncertain likeability: her so-called comic verse roils with death wishes and sneering attacks on other poets. (“Let all the little poets be gathered together in classes / And let prizes be given to them by the Prize Asses,” she says in “To School!”) She has been put in with Blake, Coleridge, and Emily Dickinson. Fine company, but Smith is far more varied, unfettered, and disenchanted than all that. Her lines have scope. They contain a high-low mix of childlike diction, plain speech, formal rhymes, and heroic couplets, with a register that ricochets between folk tunes, hymnals, liturgy, nursery rhymes, and lyrical verse. She deliberately set many poems to the tunes of hymns, and sang them as such. Given all the wit and intellect that animate her poetry, why has she been forgotten?
A profoundly independent and, by all accounts, slightly peculiar woman, Smith—born Florence Margaret, and only later Stevie—lived in the same house in North London from the time she was three until her death, taking care of an aunt she treasured, without the need to insert a proper man or children into her life. She worked as a secretary in the women’s magazine business for her entire career, which perhaps is why, in her poems and in her letters, she tilts to seeing women as acutely silly. She avoided serious relationships, settling instead into easily reciprocated, caring friendships and a familial bond with her aunt. Read More »
February 8, 2013 | by Sadie Stein
“The library has always been a sanctuary for me. I always felt validated as a child when the librarian went to, what I believed at the time, great lengths to attend to my inquisitiveness,” says Barbara Morrow, who on Friday married David Kurland in the Northwest History Room at Washington’s Everett Public Library. “Today, when I walk into a library, I feel calm. I look around at the stacks and know I can find out about anything. There before me, shelf after shelf, are ideas and knowledge.”
Added the groom, “Libraries are full of ideas. A person needs lots of ideas. And we both love words ... We are the ultimate nerds.”
The two, who met on Match.com after he decided he “just wanted to have lunch with the woman who could write like that,” and who enjoy reading aloud to each other, were married by children’s librarian Theresa Gemmer. Librarian Joan Blacker acted as a de facto wedding planner.
The bride sported book-shaped earrings; the groom a bookshelf-patterned tie. Following cake with the staff, the bride renewed her library card.
Hearty congratulations from everyone at 62 White Street!
December 23, 2011 | by Lorin Stein
May I once more avail myself of the generous hospitality of your advice column to help solve another of my small mysteries? I am currently editing the 1852–54 journal kept on the Australian goldfields by the Pre-Raphaelite sculptor Thomas Woolner. It is a fascinating document, from which most of the best bits were ruthlessly excised prior to publication in 1917 by his industrious daughter, à la Cassandra Austen, though fortunately they survive in the manuscript. On November 8, 1852, Woolner and his two traveling companions strayed from the main road north from Melbourne toward the diggings, became separated, and got lost in the bush: “I went on and saw—what produced this observation, ‘That [he] who wants to avoid strange sights must shun byways.’ A brutal, worse than brutal sight.” So far I have not been able to identify the quotation, if indeed it actually was one. It seems possible that the inverted commas were merely added for emphasis; it’s a rather clunky aperçu, yet I wonder if any of your readers recognize it? Elsewhere in the journal Woolner recorded without hesitation, and in detail, even a measure of cold detachment, scenes of drunkenness and violence, shady characters, the accidental drowning of a friend, and several murders in and around the goldfields. On this occasion, though, whatever Woolner saw so shocked him that he was obviously not prepared to note any particulars. Bodily, I presume, but what on earth was it? On that gothic note, may I also add my sincere compliments of the season?
When you say jump, The Paris Review does not ask how high. We put our best people on this one. The results—while inconclusive—were revealing.
Within minutes, our Southern editor, John Jeremiah Sullivan, wrote in from North Carolina with a passage from Tommaso Grossi’s Marco Visconti in an 1849 translation. This looked promising at first, only it had nothing to do with Woolner’s text, and was rejected. (Sullivan: “Could it have been this? My gut says no.”)
Next our associate editor, Stephen Andrew Hiltner, proposed a line from the Tao Te Ching, but admitted that Woolner was unlikely to have known Chinese.
Our deputy editor, Sadie Stein, claimed—impressively, and with some vehemence—to recognize the sententia from Horace. The poem has not been found. Our Latin consultant, Brian FitzGerald of Lincoln College, Oxford, doubted a classical provenance. He directed us to some chapters from Proverbs, in which, however, there is no mention of strange sights.
Our managing and Web editors, Nicole Rudick and Deirdre Foley-Mendelssohn, came out strong for Dante. So far we are unable to supply the relevant verse. One of Sadie’s contacts, a professor of Greek, suggested Oedipus Rex, either the messenger reporting Laius’s death or else a speech by Oedipus himself. Our close readings have not produced a match.
On the other hand, we have now figured out what Woolner saw. (Private letter to follow.) Read More »
July 8, 2011 | by Miranda Popkey
In her new book, Wanderlust, Eaves—a journalist and author who has worked for Forbes and previously published Bare: The Naked Truth About Stripping, about her time as an exotic dancer—does all of these things. Instead of making choices that follow neatly, one from the next—the job that brings you to a city where you meet the person you marry—the Eaves of Wanderlust makes decisions that consciously, thrillingly refuse to build on one another.
She travels to Cairo as a twenty-year-old college student. At twenty-three, she hikes the notoriously difficult Kokoda trail in Papua New Guinea. Fleeing the rekindling of her relationship with her ex-fiancé, Stu, she joins a husband and wife sailing from Whangarei to Tonga and nearly dies when their vessel is caught in a vicious storm on the open ocean. In person, Eaves may be slender and fair-haired, but she carries herself with a graceful, noticeable composure that makes it easy to imagine her haggling, at dusk, with a Jeep driver in Pakistan, trying to get him to lower the price of a ride she and her boyfriend desperately need. She maintains eye contact. She exudes competence.
And Wanderlust, though on the surface concerned with Eaves’s love of travel—a celebration of years spent indulging that love, moving from one town, one country to the next with little notice, living abroad for months and years at a time, cut off, in the days before e-mail, from family and friends—is also about the process by which she became the adult she is now. She doesn’t have regrets, though she would tell her twenty-year-old self to “spend more time trying to figure out what you want to do on your own. It’s easy to fall back on what somebody else wants to do.”
March 22, 2011 | by Miranda Popkey
Joyce Carol Oates is hardly an author who needs introduction. Her famously vast and varied oeuvre—more than fifty novels and hundreds of short stories, as well as critical essays, books of poetry, and plays—ensures not only that no two readers will have the same opinion of her but that the same reader may well have more than one. And yet, as we learn in A Widow’s Story, her recently published account of the year following her husband's death, outside of the public eye she was not “Joyce Carol Oates” but “Joyce Smith,” a devoted wife whose husband, Raymond Smith, had read little of her fiction. I asked her about this divide between public and private personas, the difficulty of writing while grief stricken, and the role of the woman as elegist in a conversation conducted recently over e-mail.
Early in this memoir, you write that “the widow inhabits a tale not of her own telling.” Is A Widow’s Story an attempt to reclaim that tale?
The memoir is assembled from journal entries, which were driven by the “surprises” of the day. When I began recording the hospital vigil, I did not know the ending. Only two or three chapters were written in a more conventional way, as flashbacks or background information, about Detroit in the 1960s for instance. I began the memoir—deliberately—in mid-summer 2009, when I found that I was not able to imagine a novel at that time. Since I was haunted by this material, and had hundreds of pages of notes, it seemed quite practical to write what I could, beginning with the first of the really startling, to me, epiphanies—“The Message1.”
- “The Message” is the title of the first chapter of the book, and refers to a note Ms. Oates found on the windshield of her car, which she’d parked poorly outside the hospital where her husband was recuperating. The note read, “LEARN TO PARK STUPPID BITCH.”