Posts Tagged ‘T. S. Eliot’
May 20, 2014 | by Dan Piepenbring
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.
May 16, 2014 | by Dan Piepenbring
Tonight 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.”
February 10, 2014 | by Dan Piepenbring
- “Everyone wants to be clever—it’s hard to give up that side and go blindly for stupidity. But even more frightening was the fact that it was so easy … I guess I have a talent for humiliation.” An interview with Karl Ove Knausgaard.
- On the shortlist for Britain’s new Folio Prize, open to all English-language writers: Rachel Kushner, Anne Carson, Sergio de la Pava, George Saunders, and more.
- Since T. S. Eliot has been lionized as Britain’s favorite poet, let’s all take a step back and remember: he was one of the most “daemonic poets who ever lived.”
- “O where are they now, your harridan nuns / who thumped on young heads with a metal thimble / and punished with rulers your upturned palms”: RIP Pulitzer-winning poet Maxine Kumin, who died last week, at eighty-eight.
January 22, 2014 | by Cynthia Ozick
“75 at 75,” a special project from the 92nd Street Y in celebration of the Unterberg Poetry Center’s seventy-fifth anniversary, invites contemporary authors to listen to a recording from the Poetry Center’s archive and write a personal response. Here, Cynthia Ozick reflects on W. H. Auden, whose readings she remembers attending as a Poetry Center subscriber in the fifties.
There must be sorrow if there can be love. —From “Canzone”
Ah, the fabled sixties and seventies! Jack Kerouac and William Burroughs! The glorious advent of Howling! Of Getting Stoned! The proliferation of Ginsbergian Exclamation Points! To secure the status of their literary subversion, these revolutionary decades were obliged, like the cadres of every insurrection, to denigrate and despise, and sometimes to blow up, their immediate predecessor, the fifties—the middling middle, the very navel, of the twentieth century. The fifties, after all, were the Eisenhower years, stiff and small like Mamie’s bangs (and just as dated), dully mediocre, constrained, consumerist, car-finned, conformist, forgettable, and stale as modernism itself. Randall Jarrell, one of its leading poets and critics, named this midcentury epoch “The Age of Criticism”—and what, however he intended it, could suggest prosiness more? And what is prosiness if not the negation of the lively, the living, the lasting, the daring, the true and the new? The reality was sublimely opposite. It was, in fact, the Age of Poetry, a pinnacle and an exaltation; there has not been another since. Its poets were more than luminaries—they were colossi, their very names were talismans, and they rose before us under a halo of brilliant lights like figures in a shrine. It was a kind of shrine: the grand oaken hall, the distant stage and its hallowed lectern, the enchanted voices with their variegated intonations, the rapt listeners scarcely breathing, the storied walls themselves in trance—this was the Poetry Center of the 92nd Street Y in the heart of the twentieth century. Read More »
December 18, 2013 | by Casey N. Cep
In 1927, Richard de la Mare had an idea for some Christmas cards. Because he was a production director at London’s Faber & Gwyer, his cards were festive poetry pamphlets that could be sent to clients and sold to customers for one shilling a piece. Because two years earlier Geoffrey Faber had lured a banker from Lloyd’s Bank to work as an editor at his publishing house, Faber & Gwyer had T. S. Eliot to contribute to the series.
Named for Shakespeare’s sprite, the Ariel poems each addressed the Christmas holiday or a seasonal theme. G. K. Chesterton, Thomas Hardy, D. H. Lawrence, Siegfried Sassoon, Vita Sackville-West, Edith Sitwell, and W. B. Yeats all contributed. The Ariel series followed a strict formula: identical cardboard bindings; title, illustrator, author, and occasionally an illustration on the cover; and two interior sheets folded to make four pages. The first page repeated the title information; the following three featured the poem and an original illustration.
T. S. Eliot wrote six poems for the series: “The Journey of the Magi” (1927), “A Song for Simeon” (1928), “Animula” (1929), “Marina” (1930), “Triumphal March” (1931), and, later when the series was revived, “The Cultivation of Christmas Trees” (1954). Only thirty-four lines long, that final poem is like a whisper in the whirlwind of dramatic plays and long poems that characterize most of Eliot’s later work. “The Cultivation of Christmas Trees” came decades after “The Love Song of J. Alfred Prufrock” (1917) and The Waste Land (1922), years after Old Possum’s Book of Practical Cats (1939) and The Four Quartets (1943).
I think of Eliot’s Christmas trees every year around this time: when firs, pines, and spruces appear in living rooms, storefronts, and town squares around the country. Eliot wrote the poem when he was sixty-six years old. His voice is wizened, yet wistful as he reaches through all the years of his life to recover “the spirit of wonder” from his earliest Christmases. Though formal and serious, the poem seems almost saccharine when compared to his earlier work. It will surprise many that the poet of fragments and ruins eventually turned his attention to the pretty packages and bright lights of Christmas. Read More »
November 21, 2013 | by Sadie Stein