The Daily

Posts Tagged ‘pseudonyms’

That Was Not a Very Nice Thing to Do, and Other News

October 3, 2016 | by

From the cover of My Brilliant Friend.

  • Now, let’s divert our attention to a much less controversial story from the NYRB: Nathaniel Rich on George Plimpton. “The quintessential Plimptonian anecdote comes near the end of Paper Lion when, a year after leaving the team, he wistfully follows his old squad from afar. We find him in Bellagio, on Lake Como, chasing down a box score in a Paris Herald he has found at a waterside café. ‘When I read that the Lions had lost a game,’ he writes, ‘I rose in anguish out of my chair, absolutely stiff with grief, my knee catching the edge of the table as I came up, and toppling it over in a fine cascade of Perrier bottles’ … Philip Roth, in the extended appreciation of Plimpton that appears in Exit Ghost, identified the issue of social class as ‘the deepest inspiration for his writing so singularly about sports’ … But the technique only works because Plimpton hides this knowing quality from his readers. There is never a wink or nod in the direction of the premise’s artifice. A consummate straight man, he emphasizes how seriously he is taking matters.” 

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Being Seymour Glass

August 17, 2016 | by

Why I borrowed a name from Salinger.

An illustration of Salinger’s “A Perfect Day for Bananafish” by Jonny Ruzzo, 2013.

Ask someone who Seymour Glass is and they’ll tell you he’s a Salinger character: the eldest of the precocious Glass family, a misanthrope who shoots himself on vacation in “A Perfect Day for Bananafish.” But if that someone works in the New York fashion industry—specifically, in the editorial departments of select glossies—their response might be, Didn’t he used to work here?

That’s me they’re thinking of. Read More »

Kill Thurber

April 21, 2016 | by


Matthew Thurber is an artist living in Brooklyn. He is the author of the graphic novels 1-800-MICE, INFOMANIACS, and Art Comic, which is forthcoming next year. “Kill Thurber” appears in Kramers Ergot 9.

“Lies Don’t Last with Age”: An Interview with John le Carré

April 5, 2016 | by

At 92Y’s Unterberg Poetry Center, The Paris Review has copresented an occasional series of live conversations with writers—many of which have formed the foundations of interviews in the quarterly. Recently, 92Y and The Paris Review have made recordings of these interviews available at 92Y’s Poetry Center Online and here at The Paris Review. Consider them deleted scenes from our Writers at Work interviews, or directors’ cuts, or surprisingly lifelike radio adaptations.

This week we’re debuting four new recordings from the series, and first up is John le Carré, who spoke to our founding editor George Plimpton back in October 1996—their conversation formed the basis of Le Carré’s Art of Fiction interview in the magazine the next year. Here, he touches on his discovery of his character George Smiley, his experience with intelligence services, and how he chose his inimitable pseudonym: Read More »

Pulling a Rabbit Out of a Glass Hat

February 11, 2015 | by

Richard Price and the evolving role of pseudonyms.


From the cover of The Whites.

Richard Price’s new novel, The Whites, isn’t by Richard Price, except that it is. It’s by Harry Brandt, Price’s pseudonym, but it’s also not really by Brandt—Price’s name is on the cover, too, and so Price is Brandt, obviously, and it follows then that Brandt is Price, and thus, uh …

Let’s start over.

Richard Price’s new novel, The Whites, is by Richard Price writing as Harry Brandt. It says so right there on the cover. Big deal, you might say; another author slumming it in genre fiction by creating a false identity for himself. But by publishing both his name and his pseudonym on the cover, Price has parted with centuries of pseudonymous convention. He hasn’t just pulled back the curtain. He’s brought up the house lights and waved to the audience. And he did it all, according to the New York Times, because he got sort of annoyed. Read More »


Futurism on Wheels, and Other News

July 1, 2014 | by

soviet concept car

The Torpedo-GAZ, from 1951—a Soviet concept car with a tubular duraluminum skeleton. Via io9.

  • The nineteenth century “had its own explosion of media … Much as with today’s web, people complained there was too much to read … The solution to overload? For tens of thousands of Americans, it was the scrapbook.”
  • Authors turn to pseudonyms for a number of reasons—some strange, some prosaic, some almost metaphysical. In Sarah Hall’s case, the problem was another Sarah Hall: “I could never be published as me. Someone had got there first … my agent reminded me, gently: ‘I really don’t think you can be Sarah Hall.’”
  • An interview with Jeff Sharlet, whose new book looks at religion in America: “In nine out of ten cases ‘spirituality’ is a con—not a con by the person invoking it, but a con on that person. It offers the illusion of individual choice, as if our beliefs, or our rejection of belief, could be formed in some pure Ayn Randian void … We’re caught up in a great, complicated web of belief and ritual and custom. That’s what I’m interested in, not the delusion that I’m some kind of island.”
  • “It felt like the water was rising and lapping just under my nose … I really began to wonder whether my career was over.” Classical musicians contend with stage fright.
  • Soviet concept cars from the fifties and sixties show what might have been, had futurism held its grip on the national imagination—these sleek, modular vehicles are a striking counterpoint to the American cars of the era.