Posts Tagged ‘Pulitzer Prize’
October 13, 2014 | by Dan Piepenbring
I’ve been enormously fortunate. People say, How do you feel about your reputation? My real belief is that I have exactly the reputation I deserve … on the whole I feel comfortable with myself. You know I’ve always always loved that line from Chaucer’s Criseyde, “I am meyne own woman wel at ease.” That’s the way I feel. Of course, there are always disasters looming, both cosmic and domestic. But even if it should all end tomorrow I would just hope I’ve burned enough bad drafts and old love letters!
—Carolyn Kizer, the Art of Poetry No. 81, Spring 2000
Carolyn Kizer died last Thursday at eighty-nine, the New York Times reports. Her poems are immaculately crafted and very smart, often with a steely feminism; she won the Pulitzer Prize in 1985 for her collection Yin. As the Times says, “She was writing as early as the 1950s about the conflict for women between the creative imperative and social expectations—but it was far different in character from that of her contemporary Adrienne Rich. Where the poems of Ms. Rich, who died in 2012, landed like bombs flung from the barricades, those of Ms. Kizer felt more like a stiletto slipped between the ribs.”
Ursula K. Le Guin called Kizer’s poetry “intensely, splendidly oral, wanting to be read aloud, best of all to be read or roared by the lion herself.” Kizer, born in Washington, was known for her long, careful periods of revision, as evidenced in the manuscript above. (She was an honest self-critic, too; note that “Re-write this LOUSY couplet” scrawled in the margin.) She took more than thirty years to edit the sequence “Pro Femina,” which contains one of her most famous lines: “We are the custodians of the world’s best-kept secret: Merely the private lives of one-half of humanity.”
In addition to her Writers at Work interview, The Paris Review published many of Kizer’s poems, including “Twelve O’Clock,” in our Winter 1990 issue; and “Gerda,” which opens with an old Swedish children’s prayer, from Spring 1987. To celebrate her life, we’ve made them both available online. Read More »
April 30, 2014 | by Matthew Sherrill
Giving the lie to a critical crutch.
Copies of Donna Tartt’s The Goldfinch now bear an impressive gold foil sticker declaring it the “WINNER of the PULITZER PRIZE.” Before that accolade, though, critics had already branded the novel by using and abusing the adjective that’s launched a thousand blurbs—Dickensian. Despite, or perhaps because of, the ubiquity of the word in appraisals of the novel, such assessments are rarely issued without caveats. NPR’s Maureen Corrigan apologetically notes that the term “is one of those literary modifiers that’s overused”; in the New York Times Book Review, Stephen King somewhat ruefully acknowledged that he wouldn’t be the last to employ Dickensian to describe Tartt’s novel. He was right.
For all this critical concurrence, it’s less than clear what we mean by Dickensian, or, for that matter, by any adjective with a particular author at its root. Francine Prose leads her review of The Goldfinch with this very question: “What do people mean when they call a novel ‘Dickensian’?” As Prose notes, a number of answers present themselves—Dickensian can signify sentimentality, an attentiveness to the social conditions, a cast of comically hyperbolic characters, a reliance on plot contrivances, or even simply a book’s sheer length. (I suspect one rarely means the relatively slim A Tale of Two Cities or Hard Times when one labels a novel Dickensian.) In other words, the proliferation of the senses of Dickensian makes one wonder if it, or other such words, are critically useful at all. As Cynthia Ozick has recently complained with regard to Kafkaesque—another perennial—the word “has by now escaped the body of work it is meant to evoke.” Read More »
April 17, 2014 | by Dan Piepenbring
- On Vijay Seshadri, the poet who won this year’s Pulitzer: “The combination of epic sweep … and piercing, evocative detail is characteristic of the contribution Seshadri has made to the American canon.”
- Next week at Lincoln Center, Rachel Kushner introduces Anna, a seventies documentary that will be familiar to readers of The Flamethrowers: it “centers on the titular pregnant, homeless sixteen-year-old whom the filmmakers discovered in Rome’s Piazza Navona.”
- “In a small series of sheds in Sussex a nineteenth-century joker and eccentric hoarded the evidence that reconciles Shakespeare the playwright with Shakespeare the man.”
- Heaven Is for Real “is based on the mega-bestseller by a pastor whose four-year-old had major surgery, after which he knew things he couldn’t possibly have known, and also claimed to have met Jesus … The intended audience appears to be people in medically induced comas who enjoy Nebraska-themed screensavers and who think that Michael Landon had a little too much ‘bad boy edge’ on Highway to Heaven.”
- What’s this? Just the average story of a doctor-buccaneer who lived among the natives of Panama in the seventeenth century: “It took almost an hour for his shipmates to recognize him. Then one started backwards in shock. ‘Why! Here’s our doctor!’ the man cried, and a crowd gathered around him, trying to rub off the geometric paint that obscured his features. It was Lionel Wafer, the pirate surgeon.”
- In 1951, when the sociologist C. Wright Mills published White Collar: The American Middle Classes, “an entire society was being white-collarized. Status and prestige, emotional games and office politics: These were leaking out of the workplace and into the world, coloring the entire way people interacted and organized their time and leisure. The frankly confrontational style of blue-collar work and industrial unions was disappearing.”
April 16, 2014 | by Dan Piepenbring
- “The Pulitzer Prize is a human enterprise. Editors, past winners and a few Columbia University pooh-bahs comprise the board that awards them. Like all such collections of human beings, Pulitzer Boards are capable of brilliant good sense, and egregious errors.”
- Cynthia Ozick’s stirring defense of Kafka, the man: “Whoever utters ‘Kafkaesque’ has neither fathomed nor intuited nor felt the impress of Kafka’s devisings. If there is one imperative that ought to accompany any biographical or critical approach, it is that Kafka is not to be mistaken for the Kafkaesque.”
- Was the first-ever emoticon in a seventeenth-century poem? Maybe! But probably not.
- Thoughts on the twenty-fifth anniversary of the Mazda Miata: “I was frequently stopped while driving. Fellow Miata owners waved enthusiastically. Clubs were formed. People constantly made offers to buy my car. Miata is a car that’s worn like a jacket. The lithe driving dynamic is a second skin.”
- But the Miata was never endorsed by a man who’s walked on the moon: the only car to claim that honor is the Volkswagen Beetle, which found an unlikely advocate in Buzz Aldrin.
April 15, 2014 | by Dan Piepenbring
- Donna Tartt’s The Goldfinch has won the Pulitzer Prize for Fiction.
- John Jeremiah Sullivan’s latest piece is a masterful look at two musicians who have fallen into obscurity: “In the world of early-20th-century African-American music and people obsessed by it … there exist no ghosts more vexing than a couple of women identified on three ultrarare records made in 1930 and ’31 as Elvie Thomas and Geeshie Wiley.”
- A statistical analysis of the paintings of Bob Ross. (Ninety-one percent contain at least one tree; 39 percent contain at least one mountain; 21 percent contain cumulus clouds.)
- Taking stock of today’s art world: “The artist has undergone an enormous increase in value, to the point of idolization. But success has come at a high price, with the power of the art system, the adjustment to taste guidelines, and the dependence on galleries and curators. To create something new all one’s own, while remaining in the game, is a balancing act that only few succeed at mastering.”
- An interview with Black Dog Bone, the founder, publisher, and editor-in-chief of Murder Dog, hip-hop’s most “potent” underground magazine.
- “The original designs for the cubicle came out of a very 1960s-moment; the intention was to free office workers from uninspired, even domineering workplace settings.”
March 21, 2014 | by Dan Piepenbring
The light verse of Phyllis McGinley, born on this day in 1905.
In 1960, W. D. Snodgrass won the Pulitzer Prize for poetry. “The following year,” he says in his Art of Poetry interview, “it was given to Phyllis McGinley, which was horrifying; she used to write little silly verses for The Saturday Evening Post.”
McGinley was on the cover of Time; her work appeared in the Atlantic and The New Yorker. And yet this scathing, passing reference is the only mention she receives in our entire archive. How can we have passed over such a popular and laureled poet?
Chalk it up to, let’s say, a difference in sensibility. As Ginia Bellafante put it a few years ago in an excellent essay for the Times, McGinley wrote “reverentially of lush lawns and country-club Sundays … [she] is almost entirely forgotten today, and while her anonymity is attributable in part to the disappearance of light verse, it seems equally a function of our refusal to believe that anyone living on the manicured fringes of a major American city in the middle of the 20th century might have been genuinely pleased to be there.” Read More »