Posts Tagged ‘memoir’
February 5, 2014 | by Clifford Chase
Fat little dog trotting contentedly along the sidewalk, right at his master’s side, with a plastic steak in his mouth.
Neil Young sounds like a lonely alley cat, I thought, most poignant when slightly out of tune.
Whenever I got on the subway, I looked around for someone cute to glance at, and if there wasn’t anyone I resigned myself to boredom.
Old queen in the locker room: “When you’re the prettiest one in the steam room, it’s time to go home.”
At forty-three I was no longer in my heyday.
The name of the medication printed in a half circle and the “100 mg” made a smiley face on my new, blue pills.
On the L train, a poem called “Hunger” spoke of walking home “through a forest that covers the world.”
I’d had the same part-time public-relations job since November 1985. It was now February 2001 and counting.
I was drawn to Neil Young not by the specific content of the lyrics (too hetero) but by the overall tone of longing, which I defined as a kind of sadness that had hope.
On the L platform, a diminutive Chinese man playing “Send in the Clowns” on a harmonica, with flowery recorded accompaniment.
I write this in the hope that aphorism-like statements, when added one to another, might accrue to make some larger statement that will placate despair. Read More »
December 26, 2013 | by Jesse Barron
All this week, we are bringing you some of your favorite posts from 2013. Happy holidays!
Of the two people who have written books called My Struggle, Karl Ove Knausgaard is the less notorious. In Scandinavia, where the tradition of memoiristic writing is less prevalent and self-exposing than it is in America, he wrote, for three years, twenty pages a day about himself, his friends, his wife, and his kids. When the first of the six books was published, reporters called everyone he’d ever met. It sold half a million copies.
But unlike most literary controversies, this one’s less interesting than the work that provoked it. Knausgaard has written one of those books so aesthetically forceful as to be revolutionary. Before, there was no My Struggle; now there is, and things are different. The digressiveness of Sebald or Proust is transposed into direct, unmetaphorical language, pushing the novel almost to the edge of unreadability, where it turns out to be addictive and hypnotic. A man has written a book in which a man stays at home with his kids, and his home life isn’t trivialized or diminished but studied and appreciated, resisted and embraced. An almost Christian feeling of spiritual urgency makes even the slowest pages about squeezing lemon on a lobster into a hymn about trying to be good.
Book One ends with that impossible thing: an original metaphor for death. The last sentence of this interview may do the same for writing. Read More »
February 25, 2013 | by Sarah Gerard
To call Marie Chaix’s work autobiographical would be incomplete, though most of her books tell and retell the stories of her life. Her writing is porous and breathes memory, attesting to memory’s transience and the impressions it leaves on the body.
At the age of twenty-six, Chaix read the notebooks her father had kept during his ten years in prison following World War II. Unbeknownst to her family, he’d been the right-hand man of pro-German Fascist collaborator Jacques Doriot and had fought in the Wehrmacht beside him. This was a shock and became the topic of Chaix’s first book, The Laurels of Lake Constance. Like many of Chaix’s works, it hovers somewhere between memoir and fiction. In June, Dalkey Archive Press will publish The Summer of the Elder Tree, translated by Chaix’s husband, Harry Mathews. It concerns her ten-year hiatus from writing following the death of her editor and reincorporates many of the places she visited in The Laurels of Lake Constance and in her second book, Silences, or a Woman’s Life, which Dalkey published late last year.
Chaix spoke to me on the phone from her home in Key West.
As someone who writes a lot of autobiography, do you believe that a story is preexisting—that a writer’s job is to find it, retrieve it, and record it—or is there some invention in autobiography?
Well, I didn’t realize it before writing, but in general I discovered that, even if you have characters that you know very well—even if you write about yourself, about your “life,” your memories—the result is exactly the same as if it was fiction. I think that readers know that it’s autobiographical because writers care when it’s autobiographical, but they read it and think about themselves, which is what happened to me.
But I think writing doesn’t work like that, you know? Of course, you have a motive, you have yourself, you have your family. But they become completely—and even yourself—you become completely part of a larger world, a larger story. Read More »
January 24, 2013 | by Sadie Stein
January 7, 2013 | by George Saunders
We loved Joel Lovell’s profile of George Saunders in yesterday’s Times Magazine. Lovell quotes generously from Saunders’s preface to the new edition of CivilWarLand in Bad Decline. By special arrangement with the publisher, we bring you the preface in full.
This book was written in the Rochester, New York, offices of Radian Corporation between 1989 and 1996, at a computer strategically located to maximize the number of steps a curious person (a boss, for example) would have to take to see that what was on the screen was not a technical report about groundwater contamination but a short story.
I had graduated from the Syracuse MFA program in 1988 and had been writing stories that owed everything to Ernest Hemingway and suffered for that. They were stern and minimal and tragic and had nothing to do whatsoever with the life I was living or, for that matter, any life I had ever lived.
We billed our hours, and I would respond to any disrespect toward my person by declaring (in my mind, always only in my mind): “Thanks, a-hole, your project has just funded a Saunders grant for the arts.” And, for an edit that could have been done in an hour, I would bill that program manager’s project an hour and a half, then use the liberated half hour to work on my book.
November 29, 2012 | by Stephanie LaCava
I hadn’t seen Jake since years ago, when we had met at the Guggenheim before going away to college. I remember only one scene from the encounter: spinning around the museum’s spiraling staircase with our arms spread like wings. When we reached the ground floor, we ran out as fast as we could before anyone could have a word with us about our behavior. I don’t recall talking about France, because I don’t think we really did. I remember just twirling with abandon. He had been the only one to understand my kind of crazy. I wouldn’t see him again for five years.
Our second meeting was in Manhattan at the Odeon restaurant. Jake looked the same as he had in France, though a little taller, a little more handsome, but the same sandy hair and flashing eyes. Except more than ten years of maturity had lent him the calm that had eluded us both back then. He seemed at ease with himself and happy with his work in filmmaking. I couldn’t understand why I hadn’t appreciated his attention as much as I should have when we were young, which meant I’d grown up as well. Instead of fixating romantically on Raees, I should have accepted and cultivated my friendship with Jake—that’s really all it was. Raees was no longer tall and he was an art dealer, having left behind dreams of working in cinema.
“If you’d have asked me then what you’d end up, I thought you’d be a hippie, a free spirit poet,” Jake said as he picked apart a piece of bread. “You were like a flower child obsessed with butterflies1—you had this really funny handwriting and drew insects on everything. You had a very beautiful spirit. You were strange, but it didn’t really bother me. I thought it was endearing. You weren’t like the other girls, and they definitely didn’t like you.” He laughed. “Sorry. You know what I mean. It seems as though you’re doing well now.”
- Just as Egyptian tombs and medieval catacombs were ravaged for treasure, butterflies are also victims of contemporary black market smugglers like Hisayoshi Kojima, the Japanese-born king of a vast multimillion-dollar ring of insect poachers. They were two Queen Alexandra’s Bird-wing butterflies ordered by an undercover agent that led to Kojima’s eventual capture. The species is the largest in the world, with a yellow body and mint-and-black-colored wings sometimes reaching almost a foot in width.