142 posts tagged with Literature by Kattullus.
Displaying 1 through 50 of 142.
The New Yorker has recently put online three short essays on writing by novelist and short story writer Shirley Jackson, author of The Lottery and The Haunting of Hill House. They are Memory and Delusion, On Fans and Fan Mail and Garlic in Fiction, where she sets out her methodology of writing fiction. You can read one of Jackson's short stories on The New Yorker's website, Paranoia, and an interview she did with her son.
Words (part 2) is a performance by Scottish novelist and stand-up comic A. L. Kennedy about working with words. Kennedy has reflected quite a bit about the craft and practice of writing, including a blog called On Writing that ran in The Guardian from 2009-2013, and was collected into a book of the same name.
The Last Days of Kathy Acker by Jason McBride. Mathias Viegener, the friend who stayed with the author during her final month, also wrote an account of her passing called Cannibal Acker. Shortly after her death, her friend Peter Wollen wrote an obituary, Death (and Life) of the Author.
Joe Gould died well over half a century ago after having been gone from his haunts in Greenwich for half a decade. He had been a fixture in the Village for decades, friend to famous writers and artists, living in penury while saying he was working on a massively long work called Oral History of Our Time (coining the term [pdf] "oral history" in the process) from which only a few short pieces were ever published. In the 40s he became famous thanks to a profile called "Professor Sea Gull" written by star New Yorker writer Joseph Mitchell. After Gould's death, Mitchell wrote another profile in 1964, "Joe Gould's Secret", where Mitchell said that the Oral History only existed in Gould's mind. After that article, Mitchell never published again in his lifetime despite being on The New Yorker's staff until his death in 1996. Since then, various further secrets have been unearthed about Gould, diaries from the 40s, the identity of Gould's mysterious patron, and now New Yorker writer Jill Lepore has written about Gould's whereabouts in the last years in his life, and much else, in a sad profile called Joe Gould's Teeth. [Joe Gould previously]
Battle Lines is an essay by academics Robyn Creswell and Bernard Haykel in The New Yorker on the poetry of jihadis, especially those who follow the Islamic State. They argue that the way to understand them is to study their cultural products, especially poetry, which is part of their daily socialization, as discussed in this video. Poetry has a special status in the Arab world. Elisabeth Kendall explores that context in her essay Yemen’s al-Qa'ida and Poetry as a Weapon of Jihad. Jihadi poetry is closely linked to the nasheed tradition of songs which are usually sung a capella. Behnam Said traces their history in the essay Hymns ( Nasheeds): A Contribution to the Study of the Jihadist Culture.
Poem of the Week is a series in The Guardian's books section, originally started by Sarah Crown but quickly taken over by poet, playwright and professor Carol Rumens. Every week she selects, introduces and interprets one poem. The archive has about four hundred poems, with only a few repeat poets, so here are a few favorites, ranging from English-language classics (John Donne, John Keats, Emily Dickinson), contemporary poets (Shazea Quraishi, Kei Miller, Katha Pollit) translated classics (Wang Wei, Horace, Rainer Maria Rilke), translated contemporary writers (Tua Forsström, Zeng Di, Aurélia Lassaque) the unfairly neglected (Adelaide Crapsey, Rosemary Tonks, Lady Mary Wortley Montagu), avant-garde (Gertrude Stein, Hugo Ball, John Ashbery) and anonymous (The Lyke-Wake Dirge, The Bridal Morn, This Endris Night). There are hundreds more on all kinds of subjects by all kinds of poets.
Falling short: seven writers reflect on failure is a collection of seven short essays on failure by writers Diana Athill, Margaret Atwood, Julian Barnes, Anne Enright, Howard Jacobson, Will Self and Lionel Shriver. These range from the meditative to the funny. Essays reflecting on literary failure are legion, but let me point you towards a couple more, the brief Failure Is Our Muse by Stephen Marche and the longer Fail Better by Zadie Smith.
12 short poems is all that remains of the work of Nossis, one of the most beloved of the Ancient Greek poets. Exactly when she lived is uncertain, but it's certain that she was from Locri, which was on the "toe" of Italy. You can read about what archaeologists have found out about the ancient city on the website Locri Epizephyrii, Welcome To Magna Graecia. Scholars have tried to use Nossis' poetry to explain the particulars of life in Locri, looking for support for claims that noble status descended matrilineally. Marilyn B. Skinner looks at the status of women and explores the "unusual aspects of religious practice at Locri" in her essay Nossis and Women's Cult at Locri. You can read different translations of some of Nossis' poems, three by Skinner and two by Diane Rayor.
Variations on the Right to Remain Silent is an essay by poet and classicist Anne Carson about translation, cliché, divine language and the way some words violently resist being explained. She touches on Homer, Sappho, Joan of Arc, Friedrich Hölderlin, and the painter Francis Bacon.
In 1963 novelist Doris Lessing took in a fifteen year old former schoolmate of her son she had never met who couldn't live at home anymore. This teenage girl later grew up to be a writer herself, Jenny Diski (formerly of this parish), and has written a couple of essays in the London Review of Books about her relationship with Lessing. The first, What to Call Her?, was an obituary published shortly after Lessing's death. The second, Doris and Me, is a part of Diski's longer reckoning with her own life following her diagnosis with terminal cancer. [The last essay has been linked previously as part of a megapost.]
In 2010 Alan Prendergast wrote a long article about the life of novelist John Williams and how he was beginning, at long last, to find a sizable audience. How true that turned out to be, as Williams' 1965 novel Stoner subsequently became a bestseller all over Europe, first in French translation, but later elsewhere in Europe, and it has begun to get glowing notices in his native US. Williams is not around to enjoy the success, as he passed away in 1994. Now another of his novels, Augustus, has also begun its rise from obscurity. The New York Review of Books republished it last year on the occasion of the 2000th anniversary of the first Roman Emperor's death. On the NYRB website you can read Daniel Mendelsohn's fine introduction to the book.
[T.S. Eliot] both recognised and skewered in Four Quartets the routines of "eminent men of letters" who became "chairmen of many committees". As a banker, then as a publisher, he worked at jobs where committees were de rigueur and he accomplished his work with aplomb. Yet part of him always sought an escape hatch, a way to elude his official self. His nephew Graham Bruce Fletcher remembers Uncle Tom taking him as a boy to a London joke shop in the 1960s. They bought stink bombs and let them off at the entrance of the Bedford Hotel, not far from Eliot's workplace in Bloomsbury's Russell Square. With a fit of giggles, Eliot put on a marked turn of speed as, Macavity-like, he and his nephew sped from the scene of the crime, Eliot twirling his walking stick "in the manner of Charlie Chaplin".—TS Eliot: the poet who conquered the world, 50 years on by Robert Crawford, poet and biographer of Eliot. You can listen to a lecture by him entitled T. S. Eliot's daughter on the poem Marina. You can hear it, and other poems, read in between classical music as part of an episode of Words and Music. And if you want to get to know the poet, the T. S. Eliot Society keeps tabs on what works are freely available online.
Living Poets is a Durham University website with short guides to various ancient Greek and Latin authors, such as Homer, Orpheus, Anacreon, Catullus, Ovid, and Virgil. The guides focus on the extant sources and how the authors were received in their lifetime and by later generations, avoiding the "perils of autobiography."
Giuseppe Gioachino Belli was a 19th Century poet who lived in Rome and wrote sonnets in the Romanesco dialect spoken by the poor of his native city. An accountant by trade, he wrote from the perspective of working class Romans living in the theocratic Papal States, and has been referred to as the voice of Rome. Translating his work has caused translators some difficulty, with many opting for equivalent dialects, such as Peter Dale who used working class speech of his native Melbourne as a model. Anthony Burgess made his Belli Mancunian, while Mike Stocks rendered Belli into something closer to standard English. Collections of translated sonnets by Belli can be read on Andrea Pollett's Virtual Roma website and on Maurizio Mosetti's site about Belli.
Writing is a strange and solitary activity. There are dispiriting times when you start working on the first few pages of a novel. Every day, you have the feeling you are on the wrong track. This creates a strong urge to go back and follow a different path. It is important not to give in to this urge, but to keep going. It is a little like driving a car at night, in winter, on ice, with zero visibility. You have no choice, you cannot go into reverse, you must keep going forward while telling yourself that all will be well when the road becomes more stable and the fog lifts.—From Patrick Modiano's lecture when receiving the Nobel Prize in Literature [Original French, Swedish and video] which is about cities, old telephone directories but mostly about writing, how to do it and what it's like.
I have come to the conclusion that anyone who thinks about Kafka for long enough inevitably develops a few singular, unassimilable and slightly silly convictions. (The graph may be parabolic, with the highest incidence of convictions – and the legal resonance is invited – found among those who have spent the most time thinking and those who have spent next to no time thinking.) My own such amateur conviction is that the life of Franz Kafka reads like a truly great comedy. I mean this (of course) in large part because of the tragedies in and around his life, and I mean it in the tradition of comedies like the final episode of Richard Curtis and Rowan Atkinson’s Blackadder, which, after episode upon episode of darlings and foilings and cross-dressings, ends in 1917 with our not exactly heroes climbing out of their trench and running towards the enemy lines.—What kind of funny is he? is an essay by Rivka Galchen on Franz Kafka's life, based on the recently translated three-volume biography by Reiner Stach.
The long-term optimism comes from the the fact that no matter how bad things seem and how idiotically and cruelly we behave. . . well, we've got this far, despite it all, and there are more people on the planet than ever before, and more people living good, productive, relatively happy lives than ever before, and—providing we aren't terminally stupid, or unlucky enough to get clobbered by something we have no control over, like a big meteorite or a gamma ray buster or whatever—we'll solve a lot of problems just by sticking around and doing what we do; developing, progressing, improving, adapting. And possibly by inventing AIs that are smarter and more decent than we are, which will help us get some sort of perspective on ourselves, at the very least. We might just stumble our way blindly, unthinkingly into utopia, in other words, muddling through despite ourselves.In 2010 Jude Roberts interviewed Iain M. Banks for her PhD. Banks discusses his utopia, The Culture, which he created in a series of science fiction novels.
The poetry and brief life of a Foxconn worker: Xu Lizhi (1990-2014) is an article about a 24-year old Chinese assembly line worker and poet who committed suicide last month. He worked for the electronics manufacturer which makes products for a range of companies, including Sony, Apple, Amazon, Microsoft and Nintendo. The post includes Chinese originals and English translations of Xu Lizhi's poems. His death and poetry have garnered much attention, such as these blogposts from The Wall Street Journal and The London Review of Books.
Russell Edson was a prose poet whose poetry had the "the sustained wackiness of old Warner Brothers cartoons." When he passed away this year Charles Simic wrote in appreciation of his work, as did J. Robert Lennon, whose article included two audio clips of Edson reading. In interviews, Edson spoke with the same mix of seriousness and humor as he did in his poetry. Here are two interviews, one with Peter Johnson [pdf] and another with Mark Tursi. But, of course, the important thing is his poetry, so here are a few examples: 1, 2, 3. And finally, here's a video of him reading (starts after the 9th minute). [Edson previously. I especially recommend reading the linked appreciation by Sarah Manguso.]
2014 Nobel Prize in Literature Goes to Patrick Modiano who is a French novelist and memoir writer. This article from 2011 is a good overview over his career and life. He was born in Italy to a Jewish father and a Belgian mother. Much of his writing deals with recent Jewish history such as in the book Dora Bruder. His detective novel Missing Person, which won the Prix Goncourt in 1978, has been called a postmodern mystery novel.
It's said that even a century and a half after Montaigne's death, when the marquis d'Argenson subtitled a book with that word, Essays, he was shouted down for impertinence. Not a context in which many people would find themselves tempted to self-identify as "essayists." When the French do finally start using the word, in the early nineteenth century, it's solely in reference to English writers who've taken up the banner, and more specifically to those who write for magazines and newspapers. "The authors of periodical essays," wrote a French critic in 1834, "or as they're commonly known, essayists, represent in English letters a class every bit as distinct as the Novellieri in Italy." A curiosity, then: the essay is French, but essayists are English. What can it mean?—The Ill-defined Plot is an essay about the history of essays by John Jeremiah Sullivan.
The story of Dr Zhivago’s publication is, like the novel itself, a cat’s cradle, an eternal zigzag of plotlines, coincidences, inconsistencies and maddening disappearances. The book was always destined to become a ‘succès de scandale’, in Berlin’s words, but the machinations and competing energies that went into seeing it into print, on the one hand, and trying to stop it going to print, on the other, make it the perfect synecdoche for that feint, counterfeint round of pugilism we call the Cold War.—The Writer and the Valet by Frances Stonor Saunders tells the story of Isaiah Berlin's part in publishing Boris Pasternak's novel Dr. Zhivago while Michael Scammell details the CIA's role.
Shakespeare's Restless World is a BBC radio series (podcast link) where the director of the British Museum, Neil MacGregor, explores England during the lifetime of William Shakespeare as represented by twenty objects, much in the way of his earlier A History of the World in a 100 Objects (previously). The focus is on Shakespeare's plays and how they were understood by his contemporaries. The series was also published as a book.
Deaths in the Iliad is an infographic by Laura Jenkinson presenting every death in Homer's Iliad. In her book of poetry Memorial Alice Oswald did something similar, writing about all 213 named men who die in the epic poem. You can read excerpts of the poem and listen to her read these excerpts at the Poetry Archive (1, 2). Or you can listen to her discuss Memorial on the Poetry Trust podcast (iTunes, mp3).
The Emily Dickinson Archive is a collection of high resolution digital images of Emily Dickinson's handwritten manuscripts. Here are, for instance, Because I Could Not Stop for Death, Tell the Truth but Tell It Slant, I Dwell in Possibility, They Shut Me Up in Prose and I Heard a Fly Buzz When I Died. The whole collection is fully searchable and the images include the text of the poems as they were written down by Dickinson. The archive is a project of Harvard's Houghton Library but many other institutions provided manuscripts. Perhaps the best place to start is to simply browse the poems by title.
The Travels of Sir John Mandeville is a remarkable 14th Century book which tells the autobiographical story of Sir John Mandeville's travels from England to Jerusalem and beyond to Asia. The only problem is that the book "had been a household word in eleven languages and for five centuries before it was ascertained that Sir John never lived, that his travels never took place, and that his personal experiences, long the test of others' veracity, were compiled out of every possible authority, going back to Pliny, if not further." The book was very popular for many centuries and was illustrated many times. For more about the book there is the introduction to a recent scholarly Middle English version and an illuminating podcast interview [iTunes link] with Professor Anthony Bale, the translator of a new version of the "defective" version of the book, which was the best known version for centuries. The interview goes into the many errors and fantasias of Mandeville but also puts the work in the context of its time and place.
World Lite is a polemic against 'world literature' published last year in the magazine N+1. It is the latest salvo in a long-running debate about the term. M. Lynx Qualey of Arabic Literature (in English) gave a response to N+1, and so did Poorva Rajaram and Michael Griffith in Tehelka, N+1 responded to both, and the article was discussed at the Hay Festival in Dhaka. The N+1 article references Franco Moretti, who framed the contemporary version of the debate when he published Conjectures on World Literature and More Conjectures in 2000 and 2003 respectively. [more inside]
In 2002 Henry Louis Gates jr. published The Bondwoman's Narrative. It was the first publication of a novel written in the 1850s by a former slave who wrote under the name Hannah Crafts. The original manuscript has been digitized by Yale's Beinecke Library. The book caused a splash at the time, sold well and was reviewed widely, including an essay by Hilary Mantel in the London Review of Books. The identity of Hannah Crafts was uncertain, which cast a slight shadow on its provenance, but Prof. Gregg Hecimovich discovered the writer's true identity. Her name was Hannah Bond and after escaping slavery she became a teacher in New Jersey. Journalist Paul Berman further fills in the story of Colonel Wheeler, the slaveowner whose family was depicted in The Bondwoman's Narrative. Wheeler was the US ambassador to Nicaragua in the 1850s and played a major part in the administration of General Walker, the American who became a short-lived dictator of Nicaragua and tried to set it up as a slave state.
An Alderson Disk is a science fiction megastructure imagined first by scientist Dan Alderson. It's a solid disk that is thousands of kilometers thick, with a circumference equal to the orbit of Mars or Jupiter. The habitable zone would be on both sides of the disk and would be millions of times the surface area of the Earth. Not much theoretical work has been done on its feasibility, but some have tried. Missile Gap, by MeFi's own Charles Stross, which won the Locus readers' award for best novella of 2006, features a 1960s Earth transposed to an Alderson disk and is available for free on the publisher's website.
[Norman Mailer] wanted to talk a lot about age and he told me I should look after myself. 'You know,' he said, 'when you get to my age you have to pee a lot. And there is no distance at all between knowing you want to pee and then just peeing. I was at Plimpton’s funeral in St John the Divine not long ago, and they sat me near the front, you know. Suddenly, I had to go. I knew I wasn’t gonna make it all the way down the aisle so I spotted a little side door and I got the canes and nipped in there. Halfway down the corridor, I was looking for a john and who do I see but Philip Roth. "Hey, Philip, what you doin' here?" "Oh, I had to pee," Roth said.'—Mailer's Last Punch is Andrew O'Hagan's tender, short memoir of his interactions with Norman Mailer. Among other things he talks about are the long interview of Mailer he did for The Paris Review and an event at the New York Public Library with Mailer and Günter Grass.
Poetry International Rotterdam has contemporary poetry in English translation from all over the world, from Afghanistan to Zimbabwe, including countries as different as Argentina, China, Finland, Iran and Romania, in languages as unrelated as French, Malayalam and Zulu, as well as many poems originally in the English language. The poets range in age and stature from those barely over thirty to Nobel prize winners. There are also videos and audio recordings of poets reading, as well as articles about poetry.
Alice Munro has won the Nobel Prize in Literature. Munro is praised by the Swedish Academy as a "master of the contemporary short story." You can read a long interview with her at the Paris Review website and read some of her short fiction at The New Yorker's website: Amundsen, Gravel, Face, Deep-Holes, Free Radicals, Dimension, Wenlock Edge, The View from Castle Rock, Passion, Runaway and The Bear Came Over the Mountain.
That Homer used the epithet "wine-dark" to describe the sea in the Iliad and Odyssey so puzzled 19th Century English Prime Minister William Gladstone that he thought the Ancient Greeks must have been colorblind. Since then many other solutions have been proposed. Scientists have argued that Ancient Greek wine was blue and some scholars have put forward the case that Homer was describing the sea at sunset. Radiolab devoted a segment to the exploration of this issue, saying that Gladstone was partly right. Another interpretation is that the Ancient Greeks focused on different aspects of color from us. Classicist William Harris' short essay about purple in Homer and Iliad translator Caroline Alexander's longer essay The Wine-like Sea make the case for this interpretation.
The Organist is an arts and culture podcast [iTunes link] from The Believer Magazine and the Californian public radio station KCRW. Each episode is generally a mix of interviews, essays and music. Among the contributors so far have been Nick Offerman, Rachel Kushner, Jonathan Coulton and Matmos. Each podcast begins with a short dramatic monologue, for example episode three starts with Sarah Silverman talking about her pet owl, in a piece written by Alena Smith (Conan O'Brien has another dramatic monologue in the same episode). There have been six episodes so far and they are all worth a listen.
By Heart is a series on The Atlantic's website where writers speak about their favorite passages, each illustrated by Doug McLean. Here are a few of the entries so far: Stephen King on two opening lines, Hanan Al-Shaykh on One Thousand and One Nights, Susan Choi on The Great Gatsby, Jessica Francis Kane on Marcus Aurelius, Fay Weldon on The Myth of Sisyphus, Adam Mansbach on Montaigne, Ayana Mathis on Osip Mandelstam, Anthony Marra on Jesus' Son, and Mohsin Hamid on Haruki Murakami.
New technology has changed scholarship. Whereas previous generations of experts have sought to reconcile the differences between quarto and Folio, current thinking highlights the difficult relationship between the various incarnations of Shakespeare's texts, something made easier by the availability of rare Shakespeare quartos in digital databases such as Early English Books Online. The scholar Eleanor Prosser thus detects "considerable evidence" for the elimination of metrical and stylistic "irregularities" in the Folio: short lines are lengthened to 10 syllables, verbs agreed with subjects, double negatives resolved. In addition, a range of unusual words are added to the text, words not used elsewhere by Shakespeare. Prosser concludes: "somewhere behind the Folio … lies a conscientious and exacting editor with literary pretensions", albeit one "more experienced in the transcription of literary than of theatrical works". But who was it?—Who edited Shakespeare? by Saul Frampton. [more inside]
Adam Thirlwell has written five essays in as many years for The New Republic. They all concern themselves with literature, especially French, though the first one was about Charles Dickens and how he was the most avant-garde writer of the 19th Century. The second was about Roland Barthes' plans to write a novel which came to nothing when he died. In Visionary Materialism, Thirlwell explores Rimbaud's Illuminations from several angles. Genocide and the Fine Arts is about Claude Lanzmann, the director of Shoah, and his complicated relationship with his famous work. The latest one, Baudelaire's Humiliation as a Way of Life, is about Baudelaire's place at the crux of the 19th Century revolution in letters.
Poets appeared in Russia in the eighteenth century. They wore officers’ uniforms and mostly wrote odes for the accession of German empresses onto the Russian throne. In a country where life was lived according to the wartime principle of unity of command, everyone including poets served the government, which was personified by the autocracy. But everything changed with Pushkin. Born in a country where serfdom was only the formal expression of a deep internal psychological slavery, he achieved the most important Russian coup, the greatest Russian revolution: in opposition to the pyramid of power, at the head of which the Czar administers the fates of individuals and nations, he created an alternative pyramid, at the head of which stood the poet. The juxtaposition of the czar and the holy fool—the old divided paradigm of authority—was exchanged for the juxtaposition of the czar and the poet.— Poets and Czars — From Pushkin to Putin: the sad tale of democracy in Russia by Russian novelist Mikhail Shishkin, who caused a stir earlier this year when he withdrew from participation in literary events sponsored by the Russian state with a strongly-worded letter. His action was equally strongly criticized by the state and several Russian writers. Shishkin spoke to The American Reader about recent events. He currently lives in Switzerland and recently wrote an essay about being separated from his native language community.
The 2013 Man Booker International Prize went to Lydia Davis, best known as a short story writer—some just a single sentence long—but also a novelist and translator. There is a wealth of material by and about her online, and here are few favorites: Video of Davis reading some very short stories, PennSound MP3 collection of readings, talks and interviews, writer James Salter reads and discusses Davis' story Break It Down, interview by Francine Prose, Frieze Talks reading and interview, video of reading followed by Q&A, "A Position at the University" and a a discussion about the story, and finally, a number of links to her short stories: 1, 2, 3, 4, 5, 6. [Lydia Davis previously on MeFi]
Literature and Form is a series of four lectures by Oxford literature academic Dr. Catherine Brown. The lectures are on the themes of unreliable narrators, chapters, multiple plotting and what comparative literature is. You can listen to it as a podcast or through iTunes U. In this lecture series Brown primarily looks at some central structures of the novel as well as examining what the study of literature entails. Brown weaves in examples from world literature, especially English and Russian literature of the 18th, 19th and 20th Centuries.
The poet Jayne Cortez passed away this past December 28th in New York City (New York Times obituary). She started publishing her poems in the late 1960s and in the 70s began performing her poetry backed by music, first in collaboration with bassist Richard Davis, and then backed by her own band The Firespitters. Some of their tracks have found their way to YouTube: I See Chano Pozo, If the Drum Is a Woman, There It Is, Maintain Control & Economic Love Song I, Everybody Wants to Be Somebody, Takin' the Blues Back Home, Talk to Me (for Don Cherry), I've Been Searching, You Can Be and Endangered Species List Blues. Just two years ago she performed solo with her son by Ornette Coleman, drummer Denardo Coleman: Find Your Own Voice, I'm Gonna Shake and She Got He Got. In 1997 she was featured on University of California television network in the series Artists on the Cutting Edge where she read poems and discussed her work. Finally, here's a brief clip from the 1982 documentary Poetry in Motion, where she was interviewed.
"and even when there's nowhere left, no refuge for their pain, they turn to the illusion of travelling" - Kajal Ahmad, translated by Mimi Khalvati
The Poetry Translation Centre pairs living poets from Asia, Africa and Latin America with English-language translators and then puts the resulting translations online. You can browse the poetry by country, language, translator or poet. Besides the hundreds of individual poems, all presented in the original and both literal and poetic translations, many have been recorded in dual readings by translator and poet, and put online as videos or mp3s (look for the microphone or camera icon). There are also podcasts to download, articles to read, and chapbooks to purchase. It is absurd to single out a few poems as favorites, but nonetheless, here are a few that struck me hard, Birds by Kajal Ahmad, translated by Mimi Khalvati, Cataclysm and Songs by Conceição Lima, translated in a workshop, and Survivors by Choe Young-mi, translated by Kyoo Lee and Sarah Maguire (who is the founder and director of the Poetry Translation Centre). If these poems do not hit you, no need to worry as there are literally hundreds more to read. [via The Guardian]
Perched high up above the Thames in downtown London every month this past year a different writer has spent four days living in a replica of the Roi des Belges, the boat Marlow travels up the Congo in Joseph Conrad's The Heart of Darkness. Each author would write a short text during their stay "which explores London, rivers, the work of Joseph Conrad, or even all three." They would be visited on the last day by a journalist from The Guardian who recorded them reading their essay, poem or short story. Among the poets, historians and novelists were Adonis, Jeanette Winterson, Teju Cole, Michael Ondaatje and Kamila Shamsie. These recordings, each prefaced by a short interview, are all available on the Guardian website, to stream or download. Below the cut there is a link to each recording, with a short description. [more inside]
"I watched the entire street turn hot and black with smoke and then, after a few minutes, stared up at the hole in the roof and saw thousands of small gray ashes—pieces of paper, books, newspapers—floating down from the sky."
Al-Mutanabbi Street Starts Here is a project initiated by San Francisco bookseller and poet Beau Beausoleil that began as a response to the 2007 bombing [previously on MeFi] of the Baghdad bookselling center Al-Mutanabbi Street. After the attack the authorities made an effort to revive the area but recently the government has begun to make life difficult for the booksellers and intends to turn the street into an animal market. The Al-Mutanabbi Street Starts Here project consists of book art created by 260 artists and authors from all over the world, but also includes essays, exhibitions and readings, some of which have been put online as videos. You can see a lot of artists' books online at the Jaffe Center for Book Arts and the Centre for Fine Print Research (1, 2, 3). The history of the project was told in a recent essay in World Literature Today by Persis M. Karim.
"One can tell if one is happy by listening to the wind. This latter reminds the unhappy of the fragility of their house and pursues them in fitful sleep and violent dreams. To the happy, it sings the song of their safety and security: its raging whistle registers the fact that it no longer has any power over them."
Minima Moralia: Reflections from the Damaged Life is a book written by German sociologist and philosopher Theodor W. Adorno during his exile in California in the 1940s. Translator Dennis Redmond has released his translation under creative commons (here is the same translation set up in a more book-like way). In his essay Promiscuous Reading, Mark O'Connell talks about his habit of never finishing books, but an exception being "this captivatingly strange and mordant text" Minima Moralia, "a thematically wayward aggregation of a hundred and fifty-three short essays and aphorisms that darts restlessly from one subject matter to the next, its fleeting yet intense engagements rarely spanning more than a page and a half." Among the subject matters Adorno addresses is the ethics of writing, which has reverberated down through the years, and is often set up in opposition to George Orwell's thought, as recounted by James Miller in the essay Lingua Franca. [more inside]
The band Mano Negra are here introduced by MTV Europe in 1990. They are today best known for having been the original band of singer Manu Chao, but they were a pretty damn good band in their day. The band went from strength to strength but broke apart in 1993 after building a train and bringing ice to Macondo (or its inspiration, the city of Aracataca, Colombia). Manu Chao talks briefly about the trip here. His father, respected novelist and journalist Ramón Chao, accompanied his son's band and wrote a book describing the journey, which has been translated into English as The Train of Ice and Fire. The publisher of the translation, Route Online, made a YouTube playlist of related videos. The most interesting and substantial one has Ramón sharing a number of stories from the voyage (subtitled in English).
"Some remarkable Books, Antiquities, Pictures and Rarities of several kinds, scarce or never seen by any man now living."
Musæum Clausum is a catalog of invented books, pictures and antiquities written by 17th Century Englishman Sir Thomas Browne. It is a fantastical and witty meditation on the ravages of time on literature and other works of man. The Musæum Clausum is perhaps the finest example of the invented, or invisible, library, a genre which seems to have originated with Rabelais. The genre has been of special interest to Beachcombing's Bizarre History Blog (older posts), where he has written about the invisible libraries of writers such as Charles Dickens, Neil Gaiman, H. P. Lovecraft and invisible libraries in video games. The natural medium for invisible libraries might be pictures, and Musæum Clausum inspired a suite of etchings by Erik Desmazieres.
During the reign of Constantine the Great, the Roman senator and poet Publilius Optatianus Porphyrius was sent into exile for crimes unknown. He succeeded in regaining favor and his good name by composing a series of poems in praise of the emperor which looked like nothing else. His poetry was an evolution of the Greek tradition of pattern poetry, but he took it a much more complex level, as Arrigo Lora Totino explains. In an illustrated article, John Stephan Edwards goes through the poetry of Porphyrius, showing the evolution of his craft.
Mo Yan has been awarded the 2012 Nobel Prize in Literature. A Chinese novelist, born as Guan Moye, his pen name means "don't speak." His most famous novel, Red Sorghum: A Novel of China, was turned into an acclaimed film in 1987. Here are some interviews with Mo Yan: Granta, National Endowment for the Humanities and Paper Republic. Speculation was rife in China before the announcement whether Mo Yan would receive it, and the matter was controversial. For people who haven't read any books by Mo Yan, the Swedish Academy recommends Garlic Ballads [NYT]. For more news over the day, keep an eye on The Literary Saloon and The Guardian's liveblog.
"Bringing up the women’s question — I mean the women’s fiction question — is not unlike mentioning the national debt at a dinner party."
If “The Marriage Plot,” by Jeffrey Eugenides, had been written by a woman yet still had the same title and wedding ring on its cover, would it have received a great deal of serious literary attention? Or would this novel (which I loved) have been relegated to “Women’s Fiction,” that close-quartered lower shelf where books emphasizing relationships and the interior lives of women are often relegated? Certainly “The Marriage Plot,” Eugenides’s first novel since his Pulitzer Prize-winning “Middlesex,” was poised to receive tremendous literary interest regardless of subject matter, but the presence of a female protagonist, the gracefulness, the sometimes nostalgic tone and the relationship-heavy nature of the book only highlight the fact that many first-rate books by women and about women’s lives never find a way to escape “Women’s Fiction” and make the leap onto the upper shelf where certain books, most of them written by men (and, yes, some women — more about them later), are prominently displayed and admired.So begins The Second Shelf: On the Rules of Literary Fiction for Men and Women, an essay in the New York Times by novelist Meg Wolitzer. She was interviewed about her essay in the NYT Book Review podcast (mp3 link, interview starts at about 18:30). Wolitzer references the classic 1998 essay by Francine Prose, Scent of a woman's ink: Are women writers really inferior?, and further back in time you find Virginia Woolf's A Room of One's Own, which, as literary critic Ruth Franklin notes, still sounds fresh today.