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Posts Tagged ‘T. S. Eliot’

Balzac the Intern, and Other News

September 29, 2014 | by

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A drawing of Balzac attributed to Achille Devéria, ca. 1820.

  • Our poetry editor, Robyn Creswell, interviewed the Moroccan writer Abdelfattah Kilito: “A writer was a sort of creator, naturally, but I always liked to think of him as a reader as well—a great reader. By way of his writing, I tried to make out, or guess at, what he’d read. A sort of literary voyeurism. And the writer would often show his hand, as though by chance. I felt a wonderful sense of complicity when I was able to recognize a title, or a line of poetry, or an allusion.”
  • Once he’d graduated from the Sorbonne, Balzac took an internship at a Paris law firm. “An intern is to the Civil Service what a choirboy is to the Church, or what an army child is to his Regiment, or what rats and sidekicks are to Theatres: innocent, gullible, and blinded by illusions,” he wrote in 1841’s The Physiology of the Employee.
  • On Scorsese’s new NYRB doc, which debuted this weekend: “Most literary publications, running smoothly, are about as well suited to cinematic narrative as a long-term janitorial project. Scorsese has attempted to pep things up by casting the Review as a front-lines political journal with a rock-star stable of writers. The result is forced, befuddled, and frequently weird. Still, it’s a fine introduction to the long arc of the paper’s history.”
  • The art of recording: John Vanderslice quit his job as a waiter at Chez Panisse to open one of the most innovative recording studios in the country. His mantra: “sloppy hi-fi,” which means “capturing loose, spontaneous performances on the best microphones in the world. It means gritting a pretty song with white noise, pink noise, high-quality distortion (not an oxymoron: ‘It has to be high-quality distortion’), tube amps, and tube compressors, and also by physically distressing and damaging the tape. Basically, Vanderslice wants powers of violence over the loveliest sounds.”
  • Today in highly unforeseen merchandise: “Prufrock”-themed flats. “These flats feature a mix of lines from the poem and theme collage imagery (peaches, mermaids, coffee spoons, etc). The edges and flexible areas of the flats are black for an extra accent.” (Also available: Pride and Prejudice and Catcher in the Rye flats.)

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Credos

September 26, 2014 | by

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From the cover of Nancy Mitford’s The Pursuit of Love.

On this, the occasion of T. S. Eliot’s birth, it’s interesting to revisit (or, I should say, visit—if you didn’t happen to be around in 1965) his Times obituary. Especially this bit:

Lacked Flamboyance

In his later years he had an office in London in the publishing house of Faber & Faber, of which he was a director. There he carried on his business, writing letters and articles, somewhat like the clerkish type he resembled.

In appearance he was then, as he was in early life, a most unlikely figure for a poet. He lacked flamboyance or oddity in dress or manner, and there was nothing of the romantic about him. He carried no auras, cast no arresting eye and wore his heart, as nearly as he could be observed, in its proper anatomical place.

His habits of work were equally “unpoetic,” for he eschewed bars and cafes for the pleasant and bourgeois comforts of an office with padded chairs and a well-lighted desk.

Talking of his work habits, he once said:

“A great deal of my new play, ‘The Elder Statesman,’ was produced in pencil and paper, very roughly. Then I typed it myself first before my wife got to work on it. In typing myself I make alterations, very considerable ones. But whether I write or type, composition of any length, a play for example, means for me regular hours, say 10 to 1. I found that three hours a day is about all I can do of actual composing. I could do the polish perhaps later.”

Eliot’s dress was a model of the London man of business. He wore a bowler and often carried a tightly rolled umbrella. His accent which started out as pure American Middle West did undergo changes, becoming over the years quite British U.

The U was complete and unfeigned. “I am,” he said stoutly, “an Anglo-Catholic in religion, a classicist in literature and a royalist in politics.”

Even so, his ascetic austerity drew the line at gin rummy, which he delighted to play of an evening. He also kept a signed photograph of Groucho Marx, cigar protuberant, in his study at home.

These touches lend credence to Eliot’s attempts in later years to soften some aspects of his credo. His religious beliefs, he asserted, remained unchanged and he was still in favor of monarchy in all countries having a monarch, but the term classicism was no longer so important to him.

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More Drunk Texts from Famous Authors

June 4, 2014 | by

The long-awaited sequel.

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The Paris Review, 1959

May 23, 2014 | by

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Today’s the last day to claim your copy of our twenty-first issue, published in the spring of 1959.

To celebrate American Masters’s Plimpton! Starring George Plimpton as Himself—a documentary about our late, great founder George Plimpton—The Paris Review is giving all new subscribers this remarkable issue, which includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.

Subscribe now and we’ll send you a copy of your own.

U.S. residents can watch Plimpton! Starring George Plimpton as Himself in its entirety online, courtesy of PBS.

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Reminder: Subscribe Now, Get a Vintage Issue from 1959

May 20, 2014 | by

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To celebrate American Masters’s Plimpton! Starring George Plimpton as Himself—a documentary about our late, great founder George Plimpton—The Paris Review is giving all new subscribers a copy of our twenty-first issue, published in the spring of 1959. This remarkable issue includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.

Subscribe now and we’ll send you a copy of your own—but hurry, because this offer only lasts through Friday.

U.S. residents can watch Plimpton! Starring George Plimpton as Himself in its entirety online, courtesy of PBS.

 

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Own a Piece of Paris Review History

May 16, 2014 | by

21 2Tonight at nine, American Masters’s Plimpton! Starring George Plimpton as Himself premieres on PBS. The documentary “does the man justice,” Variety says. The Newsday nails it: “Famed journalist had fun, and so will you.”

For the next week, to celebrate the documentary and our late, great founder, The Paris Review is giving all new subscribers a copy of our twenty-first issue, published in the spring of 1959. This remarkable issue includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.

Subscribe now and we’ll send you a copy of your own—a piece of The Paris Review’s history. And tune in this evening to catch Plimpton!, which is about, as PBS puts it, “football, literature, magazines, fireworks, hockey, movies, presidents, lawn chairs, geniuses, and the true tall tale that brought them all together.”

 

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