Posts Tagged ‘writers’
February 19, 2015 | by Daniel Torday
On writers, glass, Pliny the Elder, and the way families pass on their stories.
Since I started writing, I have sought forebears who might have had literary aspirations. Were there writers in the family? My great-uncle György, who was exiled to the Ukraine during World War II and afterward became a functionary in Hungary’s Communist government, was a novelist, but my father has always been dismissive of his work. He says György wrote a variety of socialist-realist novel that’s hard to take seriously, hard not to see as propaganda. His books have never been translated into English, and my Hungarian isn’t nearly good enough to understand what’s in them. The only existing copies I know of sit on a shelf in my Cousin Hajnal’s house in the Buda Hills. I don’t have the heart to ask to take them and have them translated. When I’ve asked her about them in the past, she’s simply said that they are books, yes, and that her father wrote them.
In their stead I have purchased rare used copies of two books written by Frederic Neuburg, author of a large trove of letters to my father’s Aunt Traute that he keeps in an old teak box in his house in Los Angeles. My father is not Bellow or Updike, and I am not the son of Bellow or Updike, but it is the book I have, in two editions, an art book containing photographs of Neuberg’s glass collection and extensive commentary on the pieces. Read More »
November 28, 2014 | by The Paris Review
Earlier this week, we announced the five finalists in our Windows on the World contest; today we’re happy to say that the winner is Simon Rowe, with his view from Himeji City, Japan. Simon will have his view sketched by Matteo Pericoli. Congratulations to him, and many thanks to all who entered!
Simon Rowe, Himeji City, Japan
Time has gathered Japan’s villages into towns and cities, even turned some into metropolises, but the cho, or neighborhood, remains the heart and soul of the nation.
Mine resembles an overcrowded circuit board with its dense clusters of houses spanning a century in design and its winding pathways, which deliver children to school, businessmen to bus stops, and elderly to their kitchen gardens. This is Kamiono-cho, in Himeji city—where the westward sprawl that begins in Osaka finally runs out of steam.
Bamboo grows as thick as a man’s leg in the forests beyond the neighborhood, lofty and mesmerizing when the valley winds blow. In Autumn, the smell of burning rice chaff reaches through the window, signaling the end of the harvest season and the start of the festivals that celebrate its bounty. Taiko-drum volleys rattle my window, just as the earthquakes do.
Snow dusts the rooftops in winter. Through the opened window, knife-edged winds carry a whiff of Siberia—chilling, yet invigorating. Spring sees cherry blossoms garnish the neighborhood and family picnics mushroom beneath them. Then the blossoms fall, like the brief and beautiful life of a samurai, with the first spring rains. Summer arrives and the window is shut to the whining insects and the suffocating humidity, which descend on the city. The pane rattles once more with the typhoons of late summer; TV antennas waggle on tiled roofs, momentarily lost to the rain.
The old neighborhood, once famous for strawberry growers, is vanishing. Where fruit grew, model houses now stand. Outside them, housewives gather on dusk to chew over the day’s proceedings and await their children’s return from school. Long after dark, the buses will disgorge their tired husbands, who will drift heavy-hearted back to their homes and sleeping families.
October 16, 2014 | by Sadie Stein
On November 21, 1811, the writer Heinrich von Kleist shot his beloved, the terminally ill Henriette Vogel, and then himself, on the banks of Kleiner Wannsee. The innkeeper who housed them the night before described the couple, thirty-four and thirty-one, as cheerful and voluble; Kleist wrote in a final letter to his sister that he viewed death with “inexpressible serenity.” Although controversial, troubled, and financially unsuccessful in his day, he went on to achieve a monumental posthumous reputation and is today regarded as one of the finest writers—playwright, philosopher, and novelist—in the German canon.
Vogel was herself an accomplished intellectual. Theirs is one of the most famous suicide pacts in history, but the details are hazy—some accounts say the suicide was her idea, others that she wasn’t even his first choice, a theory espoused by the recent film Amour Fou. The exact location of the bodies is unknown.
Because of the nature of their deaths, Kleist and Vogel were denied church burial and were instead interred where they fell, by the lake. An immediate tourist attraction for romantic rubberneckers, the gravesite fell into disrepair for most of the nineteenth century. It was freshened up when Kleist was claimed by late-century nationalists and was commemorated with a large, Nazi-style stone for the 1936 Olympic Games. (The Nazis claimed Kleist as theirs, too, but they had to redo the stone when they discovered they’d accidentally inscribed it with a quote by the Jewish poet Max Ring.)
In 2011, the site was given the grand bicentennial treatment: paths were laid through the nearby woodlands, the area was landscaped, and both Kleist and Vogel were given fresh markers; hers is new, his is the old stone turned 180 degrees and inscribed, once again with the Ring quote: “He lived, sang and suffered / in gloomy and difficult times / he sought death here / and found immortality.”
The site is easy to visit; it’s on what’s now the southernmost edge of Berlin, a short walk from the S-Bahn Station through the woods. And when the sun shines off the lake and filters through the yellowing branches, it’s heart-catchingly beautiful.
I don’t know any Kleist by heart—one wishes to be the sort of person with reams of quotations at her fingertips in such moments, and I, instead, had to look up what I wanted on my phone. I was thinking of Kleist’s well-known essay “On the Marionette Theatre,” collected in the fabulous On Dolls. These are its closing lines:
“Now, my excellent friend,” said my companion, “you are in possession of all you need to follow my argument. We see that in the organic world, as thought grows dimmer and weaker, grace emerges more brilliantly and decisively. But just as a section drawn through two lines suddenly reappears on the other side after passing through infinity, or as the image in a concave mirror turns up again right in front of us after dwindling into the distance, so grace itself returns when knowledge has as it were gone through an infinity. Grace appears most purely in that human form which either has no consciousness or an infinite consciousness. That is, in the puppet or in the god.”
“Does that mean,” I said in some bewilderment, “that we must eat again of the tree of knowledge in order to return to the state of innocence?”
“Of course,” he said, “but that’s the final chapter in the history of the world.”
March 5, 2014 | by Dan Piepenbring
- “What does the term ‘successful writer’ mean to you?” (Sample answers from writers at AWP: “Joy,” “$ and Happiness,” “Having a great publicist.”)
- “The list in our time (‘28 Places To See Before You Die,’ or else what?) makes its fantastical claim that order exists, that order can be known … but this is not true.” TPR contributor J. D. Daniels rallies against listicles in a piece we’re pleased to include in this listicle.
- Today in juxtaposition: an artist superimposes Canaletto’s paintings of Venice and London against modern Google Street View photos of the cities.
- Uncelebrated and yet indispensable: New York City voiceover artists. “You’re background, you’re furniture. You provide atmosphere. But let’s face it, you’re not important.”
- “I’m just a normal guy … But where I go to work each day just might surprise you … Sorry. Didn’t mean to do that. It’s one of the risks of the trade, I guess. I write headlines for Upworthy.”
November 21, 2013 | by Sadie Stein