Posts Tagged ‘William Faulkner’
December 31, 2013 | by Robert Moor
In honor of the new year, we are bringing you some of your favorite posts from 2013. Happy holidays!
When I first started working at Kings County Distillery, in the summer of 2010, I was delighted to find the job provided ample time to read. Whiskey making has its own peculiar rhythm. Each batch begins in a flurry, as one juggles a series of tasks like a line cook, but ends in a hush, with little to do but watch the languorous drip of the stills.
This was in the wobbly-legged days of the company’s infancy, before we moved into the grand old brick paymaster building in the Brooklyn Navy Yards. Back then we were based out of a studio space on Meadow Street with wooden floors and five-gallon steel pot stills that had to be emptied, scaldingly, by hand. (This, as our former downstairs neighbors can attest, would prove an unfortunate combination of circumstances.) During that first summer, we worked singly, in nine-hour shifts, so there was a lot of alone time. So, unless one wanted to lose one’s goddamn mind in that little room, one read. Read More »
December 26, 2013 | by Jesse Barron
All this week, we are bringing you some of your favorite posts from 2013. Happy holidays!
Of the two people who have written books called My Struggle, Karl Ove Knausgaard is the less notorious. In Scandinavia, where the tradition of memoiristic writing is less prevalent and self-exposing than it is in America, he wrote, for three years, twenty pages a day about himself, his friends, his wife, and his kids. When the first of the six books was published, reporters called everyone he’d ever met. It sold half a million copies.
But unlike most literary controversies, this one’s less interesting than the work that provoked it. Knausgaard has written one of those books so aesthetically forceful as to be revolutionary. Before, there was no My Struggle; now there is, and things are different. The digressiveness of Sebald or Proust is transposed into direct, unmetaphorical language, pushing the novel almost to the edge of unreadability, where it turns out to be addictive and hypnotic. A man has written a book in which a man stays at home with his kids, and his home life isn’t trivialized or diminished but studied and appreciated, resisted and embraced. An almost Christian feeling of spiritual urgency makes even the slowest pages about squeezing lemon on a lobster into a hymn about trying to be good.
Book One ends with that impossible thing: an original metaphor for death. The last sentence of this interview may do the same for writing. Read More »
October 28, 2013 | by Sadie Stein
Whom do you read for pleasure?
Anthony Powell. Ronald Knox, both for pleasure and moral edification. Erle Stanley Gardner.
And Raymond Chandler!
No. I’m bored by all those slugs of whiskey. I don’t care for all the violence either.
But isn’t there a lot of violence in Gardner?
Not of the extraneous lubricious sort you find in other American crime writers.
What do you think of other American writers, of Scott Fitzgerald or William Faulkner, for example?
I enjoyed the first part of Tender Is the Night. I find Faulkner intolerably bad.
—Evelyn Waugh, the Art of Fiction No. 30
September 3, 2013 | by Sadie Stein
July 25, 2013 | by Chris Pomorski
Wikipedia will tell you that the National Arbor Day Foundation has bestowed upon Clyde, Ohio, the illustrious title of Tree City USA, and also that the Whirlpool Corporation calls the town home. You might learn, too, from the “Notable Residents” section of Clyde’s Wikipedia page, that former NFL tackle Tim Anderson has lived there, and that he was preceded in this by George W. Norris, a progressive senator from Nebraska during the early part of the twentieth century. Should you meet a Clyde native of a particular sort, though—in San Francisco, say, or New York—she might skip these details to tell you about a more hallowed pedigree. She might say, if she judges you a literary type, that she hails from the small town where Sherwood Anderson’s Winesburg, Ohio is set. (Winesburg’s Wikipedia page will explain, if you happen to visit it, that it is not the setting for Winesburg, Ohio.)
It turns out, though—somewhat perplexingly—that Clyde natives eager to claim ties with Anderson are scarce. Since Winesburg’s publication, in 1919, residents have for the most part regarded Anderson as a prodigal child—a troublemaker and bawdy apostate from whom to keep a wary distance. A 2001 article in Cleveland Scene magazine titled “Unfavorite Son” noted that although the Clyde Public Library boasted a Whirlpool Room, “nary an alcove” had been dedicated to Anderson. For years, the library’s only copy of Winesburg “was kept in a locked closet with other ‘bad books.’” If you wanted a peek, “you had to ask the librarian, and she looked down at you with a scowl.” In the 1980s, an annual Sherwood Anderson Festival was inaugurated but lack of interest saw it swiftly snuffed. Local high school teachers exclude Winesburg from reading lists, and an Anderson scholar from a nearby college told Scene that at the time of the book’s release, townspeople regarded it as gossip: “They didn’t understand what fiction was,” he said. “They thought he was a liar.” It did not help, perhaps, that Winesburg contains much indelicate innuendo regarding married women, teenage girls, and the local religious establishment.
Still, nearly a century has passed since Winesburg’s publication. Anyone who might have detected in the novel traces of her own biography has surely passed on. Modern-day Clyde has little to recommend it, and it strikes one odd, at first, that natives would fail to claim Anderson with pride. A town of some 6,000 citizens fifty miles from Toledo, Clyde is a place of vacant storefronts and empty streets. Stoplights hang heavy between buildings of faded red brick, and plywood boards panel downtown windows. It is the sort of town from which escape can prove difficult and not the kind to which people readily relocate. People in Clyde are quick to discern condescension, and though Winesburg, Ohio owes its endurance to universality—to artful, empathetic investigations of human weakness and desire—they cannot shake the notion that it levels at their town a targeted indictment. They do not see in it a feat of artistic alchemy but a slim volume of petty judgment, a document of isolation rather than transcendence. Read More »
July 23, 2013 | by Sadie Stein