{"id":62547,"date":"2013-11-15T13:58:54","date_gmt":"2013-11-15T18:58:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=62547"},"modified":"2013-11-16T17:48:22","modified_gmt":"2013-11-16T22:48:22","slug":"what-were-loving-great-teachers-great-books-giant-wigs","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/11\/15\/what-were-loving-great-teachers-great-books-giant-wigs\/","title":{"rendered":"What We\u2019re Loving: Great Teachers, Great Books, Giant Wigs"},"content":{"rendered":"
\"1778-jeune-dame-paris-review\"<\/a>

1778 fashion plate of French court dress with wide panniers and artificially enhanced “big hair.” Plate 43 in Galerie des Modes for 1778.<\/p><\/div>\n

Some years ago, when I was trying to learn Spanish, I bought Borges\u2019s lectures on English literature. As it turned out, these were largely concerned with Old English, so actual Spanish was required to read them and I had to throw in the towel. Now, New Directions has translated the talks as Professor Borges: A Course on English Literature<\/em><\/a>. Recorded in 1966 at the University of Buenos Aires, this introductory class oozes charm. Quoting from memory, because he\u2019d already lost his sight, and relying on his own translations, Borges ranges from Caedmon\u2019s Hymn<\/em> to the Victorians. It’s been a long time since I went back to the poems of Rossetti\u2014and longer since I had any urge to reread Beowulf<\/em>\u2014but Borges is no ordinary teacher, and his old-fashioned taste, for Germanic heroes and doomed love and G. K. Chesterton, is sincere, untroubled, and contagious. \u2014Lorin Stein<\/strong><\/p>\n

It suddenly feels like winter here in New York: we saw the first snowflakes of the season on Tuesday morning. I don\u2019t have a fireplace, but it\u2019s hard to resist the urge to curl up by the heating pipe with a fat, favorite classic. Enter the new Penguin Clothbound\u00a0Classics edition of\u00a0Vanity Fair<\/em><\/a>, beautifully rendered in pale blue, and scattered with stylized gems in honor of the ambitious Becky Thatcher. I am generally fairly indifferent to what my books look like, but I love this series, which manages to feel both modern and heirloom. As to the novel, it\u2019s just the best; you don’t need to hear that from me. From the opening lines of Thackeray\u2019s preface, \u201cBefore the Curtain,\u201d you know you\u2019re in for a treat, whether reading it for the first time or the twentieth. The author subtitled Vanity Fair<\/em> \u201cA Novel without a Hero,\u201d but though it\u2019s peopled with some of literature\u2019s most memorable characters, it’s true that the real star is a sweeping story that manages to be both tragic and fun. \u2014Sadie O. Stein<\/strong><\/p>\n

On Saturday afternoon, I took the Southeast line from Grand Central Station to Mount Kisco and read a fitting book: the 116-page Train Dreams<\/em><\/a> by Denis Johnson. A m\u00e9lange of sharp realism and muted sur<\/em>realism, this novella was first published in the 2002 summer issue<\/a> of The Paris Review<\/em>; it was released in book form to great acclaim in 2011. Johnson takes us from the turn of the twentieth century through the late 1960s; Robert Grainer is the stoic loner who guides us through both the Idaho Panhandle and industrialization.\u00a0\u201cNow he slept soundly through the nights, and often he dreamed of trains, and often of one particular train: He was on it; he could smell the coal smoke; a world went by.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\nAmong the many wondrous artifacts left by the late poet John Hollander is Rhyme\u2019s Reason: A Guide to English Verse<\/i><\/a>, a 2001 volume of slim dimension and\u00a0 great poetic wisdom that has traveled with me for the past few days. I have been thinking about poetry\u2019s relation to music,\u00a0and early on Hollander writes, \u201cIt should be remembered that all poetry was originally oral. It was sung or chanted … poetic form as we know it is an abstraction from, or residue of, musical form, from which it became divorced when writing replaced memory as a way of preserving poetic utterance.\u201d The book does not linger in sermon though, hastily moving into witty explorations of wide-ranging forms, schemes, and meters. \u2014Adam Winters<\/strong><\/p>\n

The eighteenth-century French court\u2019s rococo hairstyles\u2014if such a word can even be applied to the elaborate confections\u2014are the stuff of legend. Will Bashor\u2019s Marie Antoinette\u2019s Head: The Royal Hairdresser, the Queen, and the Revolution<\/a><\/em> certainly gives you plenty of bang for your buck in that regard: thirty-pound wigs, mouse-infested coiffures, and the occasional miniature naval battle all make appearances. But it is also a scholarly history not merely of the vagaries and politics of Versailles court fashion, but the rise and fall of L\u00e9onard Auti\u00e9, a man of modest background who rose to become hairdresser to the queen, and whose fortunes were inexplicably tied to that of the doomed monarchy.\u00a0\u2014S.O.S. <\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Some years ago, when I was trying to learn Spanish, I bought Borges\u2019s lectures on English literature. As it turned out, these were largely concerned with Old English, so actual Spanish was required to read them and I had to throw in the towel. 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