October 15, 2018 Arts & Culture A History of the Novel in Two Hundred Essays By Morten Høi Jensen V. S. Pritchett As an undergraduate, I gave up trying to write fiction (my only completed story bore the decidedly unpromising title “Growing Marijuana”) and realized I wanted to write literary criticism instead. Troubled by the cavernous gaps in my reading, I sent a fan letter to James Wood, whom I didn’t know personally but whom I admired deeply, and asked him what he thought an aspiring young critic ought to read. He generously recommended the Complete Collected Essays of V. S. Pritchett. “Try to find this big book,” he wrote, “it has hundreds of essays in it, covering essentially the history of the novel. I learned a lot from it.” Read More
October 15, 2018 On Uwe Johnson On Uwe Johnson: Poet of Both Germanys By Damion Searls This week marks the publication in English of one of the great novels of New York City, and of the twentieth century: Anniversaries: From a Year in the Life of Gesine Cresspahl, by the German writer Uwe Johnson. This is the first of three essays by the translator, Damion Searls, a Paris Review contributor and former translation correspondent for the Daily, on the book, its author, and what it means to translate a foreign book about your hometown. In 1961, the heads of six leading publishers—French, German, Italian, Spanish, English, and American—created the International Publishers’ Prize, “meant to single out writers who were actively transforming the world literary landscape, and to rival the Nobel Prize in prestige,” in the words of J. M. Coetzee. That inaugural year, the prize was shared by two writers everyone has heard of: Jorge Luis Borges, whose international career it launched, and Samuel Beckett. In its second year it went to a twenty-seven-year-old German named Uwe Johnson. Speculations About Jakob had been published when Johnson was twenty-five, in 1959—the same year as the other canonical postwar pre-sixties German novel, Günter Grass’s The Tin Drum. It wasn’t Johnson’s first novel: he had started another in his teens, and in 1956 sent it to the legendary Peter Suhrkamp, publisher of Brecht and Hesse and so many others. The reader’s report read, in part: “Well, Theodor Fontane [the German realist master, comparable to Flaubert] is alive, he’s 23 years old, and he lives on the other side!” The East. Suhrkamp met with Johnson, encouraged him, but turned down his first effort as being too regional, too firmly locked in to the experience of Mecklenburg, northeast Germany: there was too much Plattdeutsch dialect, too much local color. Limited scope was not a problem Johnson would ever have again. Read More
October 12, 2018 This Week’s Reading Staff Picks: Potters, Porridge Bowls, and Pastries as Existential Truths By The Paris Review Kathy Butterly, Yellow Glow, 2018, clay and glaze, 6 1/2″ x 9 7/8″ x 7″. There are several things I miss about living in Louisiana, one of them being its proximity to Mississippi and the strange wonder of the Ohr-O’Keefe Museum of Art, the Frank Gehry–designed pottery museum across the street from the Gulf in the south of the state. There resides a permanent collection of George Ohr, the Mad Potter of Biloxi, an artist who did strange and amazing things with form (some critics say he anticipated abstraction), wonderful and wonky things with color (see the shimmering multicolor glazes), and generally elevated mud into fine art. Lucky for me—lucky for all of us within spitting distance of West Chelsea—Kathy Butterly’s ceramics are on display at James Cohan Gallery through October 20 (with an artist talk this Saturday). Citing Ohr as an influence, Butterly takes familiar forms—she starts by pouring clay into casts made from store-bought vessels—then she smashes and smooshes them, layering on more clay, adding arms and antennae and other bits until she’s crafted a different sort of delight. Note the nooks and crannies of her pieces, the piping and edging and little leaflike appendages that dress her human-scale ceramics. And the colors: I held my nose close to a piece that was bubble gum and seafoam and moss, with these little rivulets of Gatorade orange—a swirl of glazes achieved by firing her creations again and again (sometimes upwards of thirty times). Pro tip: don’t miss the nail polish—it’s another way into the head of a master colorist. —Emily Nemens Read More
October 12, 2018 Arts & Culture The First Abstract Painter Was a Woman By Nana Asfour Hilma af Klint, Group IX/SUW, The Swan, No. 17, 1915 In 1905, the Swedish female artist Hilma af Klint began cleansing herself, in preparation for a series of artworks that would be executed at the directives of someone named Amaliel. More than a century later, those paintings would force a rewriting of the history of abstraction. According to the notebooks the artist left behind, Amaliel was one of several guiding spirits who spoke to her from above (and within), instructing her and even leading her hand. During her lifetime, at the behest of the spirits, af Klint produced more than one thousand works, but they remained largely within the confines of her studio. Even though she toiled as a commercial artist, painting portraits and landscapes, she exhibited only a few of the abstract paintings and drawings she created. She worried that the world wasn’t ready to see them, and when she died in a tram accident, in 1944, at the age of eighty-one, her will ordained that they not be shown for at least another twenty years. Read More
October 12, 2018 At Work Ave Marías: An Interview with Javier Marías By Michael LaPointe It has been said of Anthony Trollope that as soon as he finished a novel, he turned to a fresh page and started on the next, and it’s tempting to think that Javier Marías enjoys a similarly unstoppable flow of invention. The Spanish author has published more than a dozen novels—one of which, Your Face Tomorrow, comprises three volumes—plus a book of stories, countless translations, a work of literary biography, and a weekly column for El País. Because his digressive, intellectual, and liquid style is among the most consistent in contemporary literature, and because his fiction shares characters and thematic concerns, it sometimes seems as if Marías has been writing one very long book for his entire career. But in fact, as he told me in our recent conversation, his process of writing is far from preordained. “I always feel as insecure as if it were the first book I’d written,” he said. His most recent novel is Berta Isla, which will be published in an English translation by his longtime collaborator, Margaret Jull Costa, in the UK this fall and in the U.S. next spring. Partly narrated by its eponymous heroine, Berta Isla returns to the milieu of espionage from Your Face Tomorrow. Marías has a persistent fascination with those who renounce their lives in order to work in the shadowy wings. As in several of his recent novels—The Infatuations and Thus Bad Begins—Berta Isla probes the nature of historical memory, asking what should be remembered, and what forgotten. Those questions are ultimately unanswerable, but as in the best of Marías’s fiction, it’s captivating to watch the minds of Berta Isla’s characters work them over. I reached Marías by phone at home in Madrid on the eve of his sixty-seventh birthday. His characters can speak at length on virtually any topic, and while this is a literary effect he achieves painstakingly, it’s true that I had no difficulty in prompting him. Our conversation wandered from Brexit to Balzac, from his apartment’s balconies to the distant kingdom of Redonda, a barren island off the coast of Antigua that through a series of bizarre events (catalogued in his Dark Back of Time), Marías rules over as “king” (“with inverted commas, of course”). INTERVIEWER I always enjoy birthdays because they’re like holidays that only you can observe. MARÍAS I’m getting old enough not to enjoy them so much, but at the same time, I suppose I’m turning the age where I should be glad that I can still celebrate them. My mother died when she was a week from sixty-five, and one of my best friends, Juan Benet, an author whom I admired very much and who was my literary master in some respects, died when he was sixty-five. And so I think, I’m older than my mother now ever was, and, I’m older than Benet. Sixty-seven for me is maybe like seventy-seven for other people, on account of those two deaths. Read More
October 11, 2018 Arts & Culture Lionel Trilling’s Hottest Takes By Lionel Trilling Everybody’s a critic, but in the past hundred years, few have reached the heights of Lionel Trilling. When he died in 1975, his obituary ran on the front page of the New York Times—a rarity for those in the thankless field of criticism. Through his essays for the Partisan Review and his books—including The Liberal Imagination—Trilling shaped and prodded the currents of American thought in a time of great social change. As Trilling himself once put it, his writing lies at “the bloody crossroads” of literature and politics, and this devotion to grounding literary criticism in real-world concerns made him one of the premier intellectuals of the twentieth century. Trilling was also a prolific writer of letters. By his own estimation, he wrote at least six hundred every year. In September, Farrar, Straus and Giroux published Life in Culture: Selected Letters of Lionel Trilling, edited by Adam Kirsch. Below, we present a selection of Trilling’s choicest opinions, which show that even in his correspondence, the critic was always at work. On Allen Ginsberg’s Howl and Other Poems Dear Allen: I’m afraid I have to tell you that I don’t like the poems at all. I hesitate before saying that they seem to me quite dull, for to say of a work which undertakes to be violent and shocking that it is dull is, I am aware, a well-known and all too-easy device. But perhaps you will believe that I am being sincere when I say they are dull. They are not like Whitman—they are all prose, all rhetoric, without any music. What I used to like in your poems, whether I thought they were good or bad, was the voice I heard in them, true and natural and interesting. There is no real voice here. As for the doctrinal element of the poems, apart from the fact that I of course reject it, it seems to me that I heard it very long ago and that you give it to me in all its orthodoxy, with nothing new added. Read More