Posts Tagged ‘Rebecca Mead’
April 10, 2014 | by Diane Mehta
Rebecca Mead, Jill Lepore, and a new direction for biography.
Feminism, Paula Backscheider explains in Reflections on Biography, transformed the study of history. “The arresting power of women’s deepest feelings, their comments about their own bodies, and the stark force of their drive to work” are part of the new candor, she says. And there are new things to consider: “How do you do justice to boundary-breaking acts, such as learning to read, or, as with [George] Eliot, not marrying?”
It was thanks to feminism that the relationship between biographer and subject took on a new life—for women to tell other women’s stories, they had to find ways to reconstruct those women’s lives. Ordinary women and their domestic lives became respectable subjects. Their diaries, letters, photographs, and other records could be taken seriously as evidence. Minor details, even in non-events, nuance the undertaking.
Reading Rebecca Mead’s intimate and scholarly My Life in Middlemarch, her memoir about George Eliot’s masterpiece, got me thinking about this shift in biography. What is it that compels one woman to explore the work and personality of another, often with centuries between us—and what are we trying to say? Read More »
February 12, 2014 | by Dan Piepenbring
This afternoon at one, join our contributing editor (and, of course, daily Daily correspondent) Sadie Stein for a live Web chat with Rebecca Mead, hosted by Jezebel. The topic: What Would Dorothea Do? In honor of Mead’s engaging new book, My Life in Middlemarch, they’ll be discussing, as Sadie says, “George Eliot, Dorothea Brooke, what the novel can teach us today, plus life, love, and, yes, sex in Middlemarch.”
It promises to be a lively and enlightening discussion about a lively and enlightening novel. For my money, whenever I make eyes at someone, which, as you can imagine, is almost constantly, I still think of a line from Middlemarch: “They were looking at each other like two fond children talking confidentially of birds.”
And whenever I confront the dubiety of my future: “Even Caesar’s fortune at one time was, but a grand presentiment. We know what a masquerade all development is, and what effective shapes may be disguised in helpless embryos.—In fact, the world is full of hopeful analogies and handsome dubious eggs called possibilities.”
And whenever I encounter a physically unattractive person: “It is so painful in you, Celia, that you will look at human beings as if they were merely animals with a toilette, and never see the great soul in a man’s face.”
And whenever I’m too hungover to pull up the window shade: “We must keep the germinating grain away from the light.” (I think of myself, you see, as germinating grain.)
If you haven’t read Middlemarch, you still have a few hours to catch up before the chat. In all honesty, though, you should read Middlemarch. Believe the hype. It is the best.
August 9, 2013 | by The Paris Review
Just this morning, I read eagerly through Sam Anderson’s profile of Gary England, Oklahoma’s “benevolent weather god,” in a preview from this weekend’s New York Times Magazine. I’ve heard a lot about England—chief meteorologist for Oklahoma City’s Channel 9—over the years from my husband, a native of that lonely corner of the state where the panhandle begins (his hometown of Woodward was hit in 1947 by one of the state’s worst tornadoes). England’s a hero in that part of the country. “It’s Friday night in the big town” is how he would start his end-of-the-week broadcasts, and though I wish Anderson’s article had given us a bit more of England himself, it’s a bittersweet, if subtle, encomium to a bygone time in which weather forecasters weren’t entertainers as much as they were, well, weather forecasters. —Nicole Rudick
It sounds pretty soft, doesn’t it, a book about reading Middlemarch. Might as well write a book about loving the Beatles, or how Proust can change your life. But Rebecca Mead is tough-minded and has a reporter’s impatience with mush. In My Life in Middlemarch, she gives us several unlikely things at once—a lively reading of George Eliot’s novel, an intimate portrait of Eliot herself, and a book about the consolations of getting older. As Mead shows, this is one of Eliot’s great themes, for as Eliot told her diary, “Few women, I fear, have had such reasons as I have to think the long sad years of youth worth living for the sake of middle age.” —Lorin SteinRead More »