Posts Tagged ‘Virginia Woolf’
July 15, 2014 | by Dan Piepenbring
- Ninety-eight years ago this month, Edith Wharton published Summer, a steamy novella “with a plotline that includes sex outside of wedlock, an unplanned pregnancy, and a truly disturbing relationship between a teenage girl and her guardian.” It was not well reviewed.
- Nor, apparently, was When Harry Met Sally, which, though it eventually ascended into the rom-com pantheon, was widely dismissed when it came out twenty-five years ago. Terrence Rafferty wrote, “The debate, of course, is too shallow to engage us, but they might have tried providing a little plot … When Harry Met Sally positions itself comfortably in the middle of nowhere and casts knowing directions in all directions.”
- On Virginia Woolf’s conception of privacy: “Many people accept the idea that each of us has a certain resolute innerness … What interested Woolf was the way that we become aware of that innerness. We come to know it best, she thought, when we’re forced, at moments of exposure, to shield it against the outside world.”
- Today in prudery: in London, the Society of Women Artists’ annual exhibition featured a portrait by Leena McCall, which depicted—trigger warning!—a bit of pubic hair. But don’t worry! Calm down! The painting was summarily removed because it was “pornographic” and “disgusting.”
- In the nineties, Prodigy was one of the most successful Internet companies around, an “interactive personal service” that finally went belly-up in 1999, taking with it “the written record of a massive, unique online culture, including millions of messages and tens of thousands of hand-drawn pieces of digital art.” Now one man has recovered some of that early Web culture.
October 31, 2013 | by Timothy Leo Taranto
July 9, 2013 | by Sadie Stein
“It would be too simple to say this is any ordinary cheese with the blues—it’s dense with flavor, care and feeling. The Bayley Hazen has a balanced mix of flavors that range from buttered toast, to chocolate and hazelnuts, and even the dark bitterness of liquorice. This Stilton-like blue is a mix of narratives—the Mrs. Dalloway of cheeses, if you will. It’s a delicious modern classic. Its taste, and the moment you first fell in love with it, will permeate in your memory for years. Don’t let this one get away.” (Via Airship Daily.)
May 28, 2013 | by Lorin Stein
The proofs of our Summer issue just arrived at Twenty-Seventh Street from the printer. This afternoon is our last chance to catch any mistakes. You always find a few typos—and we have more names to spell-check than usual, because this issue contains more stories, poems, and interviews than any in recent memory.
Some of these writers are regular contributors, including Lydia Davis—with her first publication since she won the 2013 Man Booker International Prize for fiction—and David Gates, whose new story is a favorite of his and ours. Others are writers we’ve been waiting to publish for a while, namely Ben Lerner, whose first novel, Leaving the Atocha Station, is one of the best debuts we’ve seen in the past few years, and Kristin Dombek, whose essays in n+1 electrified us. The newly translated stories by Robert Walser are from his groundbreaking 1904 collection, Fritz Kocher’s Essays. This book (which won the admiration of Franz Kafka and Walter Benjamin) made me feel for the first time that I understood what all the fuss is about.
Still others, including Emma Cline, Gillian Linden, and the Italian poet Patrizia Cavalli—translated by the likes of Jorie Graham and Mark Strand—are new to us and will probably be new to you. We look forward to saying, You read them here first.
Plus, three interviews.
Two are devoted to the art of literary biography. Michael Holroyd’s lives of Lytton Strachey and George Bernard Shaw, among others, revolutionized the study of Bloomsbury and Edwardian literary history.
I am a great believer in private life, which is quite unfashionable now—to be a celebrity is the thing, or you are nothing. But I believe in private life for the living, and I think that when one is dead one should be a little bit bolder, so that the rest of us may have some record of how things actually were. Otherwise we will be left with well-meant lies, which add to the difficulties of life and lead to real misunderstanding.
Hermione Lee’s biographies of Virginia Woolf, Willa Cather, and Edith Wharton are just as influential.
What is it like to write a death scene?
It depends how they died. Some cynical biographer said to me, Make sure it’s a good death. Make sure you’re not picking someone who just declined.
Finally, we have an Art of Fiction interview with the Nobel laureate Imre Kertész. It is, according to Kertész, the last interview he will ever give. Luisa Zielinski’s probing, sensitive questions explore the reasons that Kertész—ten years after he survived the Holocaust—decided he had to write.
Look, I don’t want to deny that I was a prisoner at Auschwitz and that I now have a Nobel Prize. What should I make of that? And what should I make of the fact that I survived, and continue to survive? At least I feel that I experienced something extraordinary, because not only did I live through those horrors, but I also managed to describe them, in a way that is bearable, acceptable, and nonetheless part of [a] radical tradition … Perhaps I’m being impertinent, but I feel that my work has a rare quality—I tried to depict the human face of this history, I wanted to write a book that people would actually want to read.
May 21, 2013 | by Sadie Stein
What follows is the only known surviving recording of Virginia Woolf, part of a BBC radio broadcast from 1937. The talk is titled “Craftsmanship.”
May 17, 2013 | by The Paris Review
Even if you’ve been reading Janet Malcolm for years, the critical appreciations collected in Forty-one False Starts may surprise you. The title essay is (or pretends to be) a series of scrapped beginnings to her profile of the painter David Salle, a giant of the art world in vulnerable mid-career. If you want to write magazine prose, this alone should make you buy the book. Ranging from Bloomsbury to Edward Weston to J.D. Salinger, the entire book is full of stylistic daring, fine distinctions, and bold judgments set down at the speed of thought. —Lorin Stein
The Emperor’s Tomb was the last novel Joseph Roth wrote. Michael Hofmann, whose versions of Roth are all unsettlingly good—more like inhabitations than translations—calls it a “valedictory repertoire of Rothian tropes and characters”: Viennese cafés, feckless and frivolous young men, the call-up to war, the end of Empire, the never-ending nostalgia for Empire. If you’ve read Roth before, you’ll enjoy the new variations on old themes; if you haven’t read Roth, start with The Radetsky March. You won’t want it to end and when it does, reading The Emperor’s Tomb will bring it all back. —Robyn Creswell Read More »