{"id":77869,"date":"2014-10-09T18:28:22","date_gmt":"2014-10-09T22:28:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=77869"},"modified":"2014-10-10T01:32:12","modified_gmt":"2014-10-10T05:32:12","slug":"how-to-win-the-nobel-prize","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/10\/09\/how-to-win-the-nobel-prize\/","title":{"rendered":"How to Win the Nobel Prize"},"content":{"rendered":"

A close reading of the Swedish Academy\u2019s citations.<\/em><\/p>\n

\"prize\"<\/a><\/p>\n

Reading the news about Patrick Modiano today, I was struck by the insipidness of the Nobel Foundation\u2019s citation: \u201cfor the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation.\u201d It bears all the hallmarks of an overblown blurb, one of those in which a bold, gimlet-eyed novelist is elucidating the now, or a limpid, singular poet is saying the unsayable. (Very few poets are saying the sayable these days, if our blurbs are to be believed.)<\/p>\n

Let\u2019s unpack this citation, beginning with this business about \u201cthe art of memory,\u201d which doesn\u2019t seem like much of an art to me. (To conceive of it as such invites a corny geriatric punch line: \u201cJust wait till you start forgetting so much!\u201d) Granting that it is<\/em> art, is it really the art through which Modiano \u201cevokes\u201d? That would have to be his writing. If he\u2019d simply sat at his desk lost in memories, he wouldn\u2019t evoke much more than his own sighs. For that matter\u2014can one really \u201cevoke\u201d a destiny, and, having been evoked, is that destiny still \u201cungraspable,\u201d let alone the most <\/em>ungraspable? Who\u2019s to say that one destiny can be grasped more easily than another? (\u201cHe was destined to be a pediatric podiatrist\u2014he saw it plain as day.\u201d) Then there\u2019s this murky concept of the \u201clife-world,\u201d which sounds like something out of Heidegger\u2014wouldn\u2019t one word or the other have sufficed? To speak of a life-world implies its negative, the death-world, which, despite our best efforts, has never been uncovered.<\/p>\n

Drafting these citations must be painstaking, fairly joyless work. This one, at least, reads like an act of circumlocution by committee; the choice to append \u201cthe most\u201d to \u201cungraspable\u201d may have occasioned hours of debate. And for what? The final result could apply to anyone; in the broadest terms, not just every writer but every person in history has practiced the art of memory, evoking destinies and uncovering life-worlds. <\/p>\n

The Swedish Academy has more than a century of history to contend with, too\u2014their citations are all on record<\/a>, and perhaps they\u2019re wary of leaning too much on expectable, well-worn adjectives. Certainly they have reason to worry: if you read through all the citations, you\u2019ll start to detect certain patterns. Any aspirant Nobel Prize\u2013winner should take note\u2014these may hold the key to victory.<\/p>\n

For starters, there\u2019s idealism<\/em>: it\u2019s everywhere. When Alfred Nobel established the prize in 1895, his will stipulated that the judges should choose a writer who has produced \u201cthe most outstanding work in an ideal direction\u201d\u2014a vague proviso, and one from which the Academy has since drifted somewhat. In the beginning, though, idealism was the order of the day, which made for some repetitive citations. In 1901 they cited Sully Prudhomme, the first-ever laureate, \u201cin special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect.\u201d Only eight years later, in 1909, Selma Lagerl\u00f6f earned the prize \u201cin appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings.\u201d In 1915 Romain Rolland won it \u201cas a tribute to the lofty idealism of his literary production.\u201d Two years after that, the Academy at last dared to switch things up a bit, commending Karl Adolph Gjellerup \u201cfor his varied and rich poetry, which is inspired by lofty ideals.\u201d They could scarcely find it in themselves to commend ideals that weren\u2019t lofty\u2014though I struggle to name a single ideal that isn\u2019t.<\/p>\n

The Academy also goes in for traditions<\/em> a lot\u2014especially, for whatever reason, Spanish and Russian traditions. They\u2019ve issued citations saluting \u201cthe great traditions of the Spanish drama,\u201d \u201cthe illustrious traditions of the Spanish drama,\u201d \u201cthe classical Russian traditions,\u201d \u201cthe great Russian epic tradition,\u201d \u201cthe indispensible traditions of Russian literature\u201d and \u201cthe tradition of Spanish poetry,\u201d with a few other traditions thrown in for good measure. Easy enough, you might think\u2014I\u2019ll just stick to tradition and have this thing locked up in no time. Not so fast: contemporary<\/em> appears seven times over the years.<\/p>\n

It goes without saying that you should be great<\/em>\u2014that word pops up in eleven citations\u2014but it also helps if you\u2019re epic<\/em> (also eleven). Oh, and fresh<\/em>! Always keep it fresh. Your inspiration has to be fresh, you must exude \u201cfresh originality\u201d\u2014no stale originality, please!\u2014a \u201cfreshly creative style,\u201d \u201cfresh and beautiful verse\u201d that \u201cgives us fresh access to reality,\u201d \u201cendowed with freshness.\u201d If you can\u2019t muster that kind of thing, try instead to be lyrical<\/em> (seven) or to master<\/em> the mastery<\/em> of masterpieces<\/em> (seven again). And if you\u2019re questing or searching for anything, best to make it truth<\/em> (five). Last, keep it real: reality<\/em>, realism<\/em>, and\u00a0realistic<\/em> appear nine times.<\/p>\n

By my lights, the freshest, realest, most masterly citation is probably the one for Harry Martinson, from 1974: \u201cfor writings that catch the dewdrop and reflect the cosmos.\u201d It\u2019s just as nonsensical as Modiano\u2019s, but with much finer prosody. Cosmos<\/em> appears in two citations, actually, meaning it\u2019s of greater concern to the Academy than curiosity <\/em>or vitality<\/em>\u2014those only receive one mention apiece. And so goes my advice to young writers: don\u2019t be curious. Be cosmic.<\/p>\n","protected":false},"excerpt":{"rendered":"

A close reading of the Swedish Academy\u2019s citations. Reading the news about Patrick Modiano today, I was struck by the insipidness of the Nobel Foundation\u2019s citation: \u201cfor the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation.\u201d It bears all the hallmarks of an […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[12325,6658,15603,15604,15602,4279,834,1150,12423],"class_list":["post-77869","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-awards","tag-blurbs","tag-citations","tag-idealism","tag-nobel-foundation","tag-nobel-prize","tag-patrick-modiano","tag-praise","tag-tradition"],"acf":[],"yoast_head":"\nHow to Win the Nobel Prize<\/title>\n<meta name=\"description\" content=\"A close reading of the Swedish Academy\u2019s citations.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/10\/09\/how-to-win-the-nobel-prize\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Win the Nobel Prize by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"October 9, 2014 \u2013 A close reading of the Swedish Academy\u2019s citations. 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