18.9.14

Why Walking Helps Us Think

Nabokov, Joyce, Woolf and the science of walking
Photograph: Nick Walton
From Ferris Jabr (New Yorker) (thanks to Emily Blewitt for the link):
In Vogue’s 1969 Christmas issue, Vladimir Nabokov offered some advice for teaching James Joyce’s “Ulysses”: “Instead of perpetuating the pretentious nonsense of Homeric, chromatic, and visceral chapter headings, instructors should prepare maps of Dublin with Bloom’s and Stephen’s intertwining itineraries clearly traced.” He drew a charming one himself. Several decades later, a Boston College English professor named Joseph Nugent and his colleagues put together an annotated Google map that shadows Stephen Dedalus and Leopold Bloom step by step. The Virginia Woolf Society of Great Britain, as well as students at the Georgia Institute of Technology, have similarly reconstructed the paths of the London amblers in “Mrs. Dalloway.”

Such maps clarify how much these novels depend on a curious link between mind and feet. Joyce and Woolf were writers who transformed the quicksilver of consciousness into paper and ink. To accomplish this, they sent characters on walks about town. As Mrs. Dalloway walks, she does not merely perceive the city around her. Rather, she dips in and out of her past, remolding London into a highly textured mental landscape, “making it up, building it round one, tumbling it, creating it every moment afresh.”

Since at least the time of peripatetic Greek philosophers, many other writers have discovered a deep, intuitive connection between walking, thinking, and writing. (In fact, Adam Gopnik wrote about walking in The New Yorker just two weeks ago.) “How vain it is to sit down to write when you have not stood up to live!” Henry David Thoreau penned in his journal. “Methinks that the moment my legs begin to move, my thoughts begin to flow.” Thomas DeQuincey has calculated that William Wordsworth—whose poetry is filled with tramps up mountains, through forests, and along public roads—walked as many as a hundred and eighty thousand miles in his lifetime, which comes to an average of six and a half miles a day starting from age five.

What is it about walking, in particular, that makes it so amenable to thinking and writing? The answer begins with changes to our chemistry. When we go for a walk, the heart pumps faster, circulating more blood and oxygen not just to the muscles but to all the organs—including the brain. Many experiments have shown that after or during exercise, even very mild exertion, people perform better on tests of memory and attention. Walking on a regular basis also promotes new connections between brain cells, staves off the usual withering of brain tissue that comes with age, increases the volume of the hippocampus (a brain region crucial for memory), and elevates levels of molecules that both stimulate the growth of new neurons and transmit messages between them. [Read More]

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23.12.13

Roth Unbound: A Writer and His Books

A new biography by Claudia Roth Pierpont
Philip Roth. Photo: Francois Reumont
From Linda Grant (The Independent):
The curse of the novelist is the question ‘Is it autobiographical?’ Is writing down of the events of one’s own life considered to be more authentic than the exercise of the imagination? Philip Roth must have been plagued more than any other writer with this dumbest of demands. For he writes out of his native Newark, sends his characters to his own high school, makes novelists his narrators, and calls one of his characters Philip Roth. After his second wife, the actress Claire Bloom, wrote a tell-all memoir of their marriage, he wrote an answering novel, in which an actress writes a memoir of her failed marriage to a radio star.

Sooner or later there will be a biography. James Atlas has already crawled all over Saul Bellow and Delmore Schwartz and we are bound to hear the laments of Roth’s many ex-girlfriends and perhaps the children of his first wife, as well as friends and editors. Yet a new book, Roth Unbound: A Writer and His Books, by Claudia Roth Pierpont (no relation, literary Roths are legion – Joseph, Henry, Philip) binds the books to the man not by mining them for nuggets of autobiographical information but by talking to Roth himself about what he put into them, by which she doesn’t mean the facts, but the territory of imagination and self that creates fiction.

Pierpont met Roth in 2002. A couple of years later she received a letter from him responding to a New Yorker article she had written. Roth, it turns out, has a habit of writing to the authors of writing he admires. This impulse led fortuitously to a series of meetings and eventually the idea for a book which began after he had completed Nemesis and announced his retirement. It has grown out of conversations with him and research in his personal files in the attic of his Connecticut house. Unlike a biographer, she has not interviewed other sources. Like a critic, she has made her own judgements about the work. What emerges is his charm – he has certainly charmed her. “He loves to listen: he’s as funny as you might think from his books, but he makes the people around him feel funny too – he may be the easiest laugher I’ve ever met.” [Read More]

Find on Amazon: US | UK

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16.12.13

Famous Writers’ Sleeping Habits

A visualisation of rising times set against literary productivity
Click for source
From Brain Pickings (thanks to Michael John Goodman for the link):
Over the years, in my endless fascination with daily routines, I found myself especially intrigued by successful writers’ sleep habits — after all, it’s been argued that “sleep is the best (and easiest) creative aphrodisiac” and science tells us that it impacts everything from our moods to our brain development to our every waking moment. I found myself wondering whether there might be a correlation between sleep habits and literary productivity. The challenge, of course, is that data on each of these variables is hard to find, hard to quantify, or both. So I turned to Italian information designer Giorgia Lupi and her team at Accurat — who make masterful visualizations of cultural phenomena seemingly impossible to quantify — and, together, we set out to explore whether it might be possible to visualize such a correlation.

First, I handed them my notes on writers’ wake-up times, amassed over years of reading biographies, interviews, journals, and other materials. Many came from two books — Daily Rituals: How Artists Work by Mason Currey and Odd Type Writers: From Joyce and Dickens to Wharton and Welty, the Obsessive Habits and Quirky Techniques of Great Authors by Celia Blue Johnson — as well as from the Paris Review interviews and various collections of diaries and letters.

We ended up with a roster of thirty-seven writers for whom wake-up times were available — this became the base data set, around which we set out to quantify, then visualize, the literary productivity of each author. [Read More]

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6.12.13

Night Passages: Philosophy, Literature, and Film

A new study from Elisabeth Bronfen
Elisabeth Bronfen, Night Passages: Philosophy, Literature, and Film
From Columbia University Press:

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out.

Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel’s romantic philosophy, and Freud’s psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart’s “Queen of the Night” to Virginia Woolf ’s oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown.

About the Author:

Elisabeth Bronfen is professor of English and American studies at the University of Zürich. Her numerous books include Specters of War: Hollywood’s Engagement with Military Conflict; Over Her Dead Body: Death, Femininity, and the Aesthetic; The Knotted Subject: Hysteria and Its Discontents; and Home in Hollywood: The Imaginary Geography of Cinema. [Read More]

Find on Amazon: US | UK

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7.11.13

50 Tough Books for Extreme Readers

Why read a 'difficult' book?
Alexander Deineka, 'Young Woman Reading' (1934)
Emily Temple (Flavorwire) has compiled a list of '50 Incredibly Tough Books for Extreme Readers'. Their toughness varies from the sheer bulk of the volume (eg. Tolstoy's War and Peace and Stein's The Making of Americans), to their stylistic virtuosity (Finnegans Wake, anyone?). But despite their daunting reputations, there can be something special about reading a 'difficult' book.

Such novels can prompt a unique kind of reader interaction, making us rethink the way we look at the world around us. These are often the sort of books that aim to elevate the everyday, or shed light on issues that society tends to overlook. What we find 'tough' or 'challenging' is often simply unfamiliar, or different to what we might usually expect. What turns our noses to the air in a modernist novel is often its attempt to capture life as it really is: a character speaking in a local dialect, or the disjointed structure of a daydream. In these and other cases, what is difficult is not the book itself, but our decision as readers to go with it.

There are books that we consume, and sometimes there are books that consume us - novels, poems and plays which perpetually pull us back to them. As the filmmaker David Cronenberg once said of Burroughs' Naked Lunch, 'You find your favorite parts, like the I Ching. You look in it when you need it, and you find something there.' Temple has charted a wonderful selection of just this kind of book. Here are just a few of them:

Nightwood, Djuna Barnes (Amazon: US | UK)
Blood Meridian, Cormac McCarthy (Amazon: US | UK)
Moby-Dick, Herman Melville (Amazon: US | UK)
Infinite Jest, David Foster Wallace (Amazon: US | UK)
J R, William Gaddis (Amazon: US | UK)
Finnegans Wake, James Joyce (Amazon: US | UK)
The Sound and the Fury, William Faulkner (Amazon: US | UK)
In Search of Lost Time, Marcel Proust (Amazon: US | UK)
Naked Lunch, William S. Burroughs (Amazon: US | UK)
To The Lighthouse, Virginia Woolf (Amazon: US | UK)
The Making of Americans, Gertrude Stein (Amazon: US | UK)
Heart of Darkness, Joseph Conrad (Amazon: US | UK)
2666, Roberto Bolaño (Amazon: US | UK)
War and Peace, Leo Tolstoy (Amazon: US | UK)
Gravity’s Rainbow, Thomas Pynchon (Amazon: US | UK)
Underworld, Don DeLillo (Amazon: US | UK)
The Unfortunates, B.S. Johnson (Amazon: US | UK)
The Collected Stories of Lydia Davis, Lydia Davis (Amazon: US | UK)
The Tunnel, William Gass (Amazon: US | UK)
Divine Comedy, Dante Alighieri (Amazon: US | UK)
The Castle, Franz Kafka (Amazon: US | UK)
The Gulag Archipelago, Aleksandr Solzhenitsyn (Amazon: US | UK)

[Read the Full List]

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8.6.13

Odd Type Writers

Celia Blue Johnson on writers' habits
Gertrude Stein
Celia Blue Johnson shares research she has conducted for her new book, Odd Type Writers:
Poet and playwright Friedrich Schiller was very particular about his writing process. He worked mostly at night and hung red curtains in his study so sunlight never illuminated the room. If he grew tired, Schiller would dip his feet in cold water so that he could stay awake and write. His most peculiar habit, however, involved fruit. He kept a drawer full of rotten apples in his study. The spoiled food created a stench that Schiller's friend Johann Wolfgang von Goethe found repugnant. However, according to Schiller's wife, he "could not live or work without" the awful aroma.

[...]

Gertrude Stein found inspiration in the driver's seat of her Model T Ford. Stein would wait in the car while her partner, Alice B. Toklas, ran errands. She jotted down poetry and prose on scraps of paper while busy Parisian traffic zipped by. Stein owned two Fords in her lifetime: the first she dubbed Auntie after a relative who "behaved fairly well most of the time if she was properly flattered," and the second, which lacked any bells and whistles, was named Godiva, after the naked heroine.

As a young writer Virginia Woolf preferred to stand while she wrote. Her desk was three and a half feet tall. Quentin Bell, Woolf's nephew, concluded that the habit was spurred by sibling rivalry. Woolf's sister Vanessa was an artist who painted at an easel. Bell noted, "This led Virginia to feel that her own pursuit might appear less arduous than that of her sister unless she set matters on a footing of equality." Eventually Woolf transitioned from standing to sitting.

In his late twenties, James Joyce wore a white coat while he worked. He'd put it on, climb into bed, and compose his work with a blue pencil. His sister Eileen noted that the coat "gave a kind of white light" that helped him see the page. Joyce battled eye diseases throughout his life. As his sight worsened, the resourceful author magnified his entire creative process, writing intricate sentences with colored crayons on large pieces of cardboard. [Read More]

Those interested in writer routines and eccentricities might also be tempted by Mason Currey's fascinating collection, Daily Rituals: How Artists Work.

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29.5.13

Was Virginia Woolf Anorexic?

Woolf's niece speculates on the writer's health in UK tabloid
Vanessa Bell, Portrait of Virginia Woolf
From Alison Flood (The Guardian): ‘Virginia Woolf's great niece has suggested that her great aunt suffered from anorexia nervosa. Emma Woolf, who has written a memoir of her own recovery from the eating disorder, says she experienced a "painful moment of recognition" when she saw a photograph of Virginia Woolf in 1932, standing between TS Eliot and his wife Vivienne. "The image of Virginia is of someone suffering from anorexia," she wrote in tÍhe Mail on Sunday.’ [Read More]

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27.4.13

Gisèle Freund: Writer Portraits

An online gallery of prominent twentieth-century authors and poets
Hermann Hesse, Montagnlia, 1962
James Joyce with grandson, Paris, 1938.
Walter Benjamin, Paris, 1938
Virginia Woolf smoking, London, 1939
T. S. Eliot, London, 1939
Victoria Ocampo, Paris, 1939
Stefan Zweig, 1939
Samuel Beckett, Paris, 1964
Iris Murdoch, Oxford, 1959
Marcel Duchamp, Paris, 1939
Marguerite Duras, Paris, 1965
André Malraux, Paris, 1935
Paul Celan, 1970
Sylvia Beach, Paris, 1938
You can find more writer portraits on Gisèle Freund's official website [See More]

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13.4.13

Virginia Woolf on Laurence Sterne

Rare introduction by Woolf found in out-of-print OUP volume
Virginia Woolf
From OUP Blog (link via 3:AM Magazine): ‘The 18th century novelist Laurence Sterne died on 18 March 1768. During a recent trip to Oxford University Press’s out of print library in Oxford, we came across the 1928 Oxford World’s Classics edition of his novel A Sentimental Journey, which included an introduction by none other than Virginia Woolf. In it, Woolf discusses the maturity of Sterne’s writing, his distinctive style, the ways he shifted perspective, and his ability to shock.’ [Read More]

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23.3.13

Fan Letters: Famous Authors to Famous Authors

Letters from Joyce, Gaddis, Woolf, McCullers and others
A young James Joyce (1902)
Flavorwire has posted a fan letter written by James Joyce to the playwright Henrik Ibsen (link via Johann Gregory):
Honoured Sir,

I write to you to give you greeting on your seventy-third birthday and to join my voice to those of your well-wishers in all lands. You may remember that shortly after the publication of your latest play ‘When We Dead Awaken’, an appreciation of it appeared in one of the English reviews — The Fortnightly Review — over my name. I know that you have seen it because some short time afterwards Mr. William Archer wrote to me and told me that in a letter he had from you some days before, you had written, ‘I have read or rather spelled out a review in the Fortnightly Review by Mr. James Joyce which is very benevolent and for which I should greatly like to thank the author if only I had sufficient knowledge of the language.’ (My own knowledge of your language is not, as you see, great but I trust you will be able to decipher my meaning.) I can hardly tell you how moved I was by your message. I am a young, a very young man, and perhaps the telling of such tricks of the nerves will make you smile. But I am sure if you go back along your own life to the time when you were an undergraduate at the University as I am, and if you think what it would have meant to you to have earned a word from one who held so high a place in your esteem as you hold in mine, you will understand my feeling. One thing only I regret, namely, that an immature and hasty article should have met your eye, rather than something better and worthier of your praise. There may not have been any wilful stupidity in it, but truly I can say no more. It may annoy you to have your work at the mercy of striplings but I am sure you would prefer even hotheadedness to nerveless and ‘cultured’ paradoxes. [Read More]
The site has also posted letters by William Gaddis (to Don DeLillo), Norman Mailer (to William Styron), Ray Bradbury (to Robert Heinlein), Charles Dickens (to George Eliot), Virginia Woolf (to Olaf Stapledon), W. H. Auden (to James Agee), Carson McCullers (to Henry Miller), George R. R. Martin (to Stan Lee), and William S. Burroughs (to Truman Capote). [Read More]

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2.12.12

Man Ray: Photographs of Virginia Woolf

A selection of images, including Woolf's 1937 Time Magazine cover
Virginia Woolf photographed by Man Ray on the cover of Time (12 April 1937)
A photograph of Virginia Woolf, taken by Man Ray in 1935.

A photograph of Virginia Woolf, taken by Man Ray in 1935.
12.11.12

Mad Men: Season Five

David Hare reviews its release on DVD
John Hamm as Don Draper in Season Five of AMC's Mad Men
David Hare (The Guardian) (link via 3:AM Magazine):
Hare Krishna, LSD and shacking up: in Series 5, Mad Men is decisively on the move. For so long rooted in the early 1960s, as imagined in the novels of Richard Yates and Sloan Wilson, this most literary of TV series is now schlepping up the decade to take root in the world of Tom Wolfe and even of Hunter S Thompson. Let's hope Kate Millett and Betty Friedan are lying in wait round the corner to blow things even more dramatically apart. [Read More]
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10.9.12

Teju Cole talks to 3:AM Magazine

An interview by Max Liu
Teju Cole
Max Liu interviews the author of Open City, Teju Cole, for 3:AM Magazine:
Increasingly, novels are praised for how much of the culture they manage to include. Open City is entirely contemporary and worldly and it includes a great deal. What are the possibilities and pitfalls of literary inclusiveness?

In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don’t mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects – maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books – and Open City actually contains many of the same sort of objects. So, I don’t think it’s as simple as literary inclusiveness. That phrase, in fact, brings to mind David Foster Wallace, Jonathan Franzen, and Dave Eggers. They are keen to include and, in fact, itemize the present in all its gaudy multiplicity. My own literary interest is more about excavating the past, or sensing the past inside the present. This requires all kinds of exclusions and sleights of hand. There’s an admittedly antiquarian flavor to it, even though there’s enough of the present included to lull the reader. So, for a book set in 2006, Open City evades certain markers, while it embraces certain others. Julius doesn’t use a smartphone, and he doesn’t discuss contemporary US politics in any fine detail. [Read More]
12.8.12

Will Self: Modernism and Me

An autobiographical essay for The Guardian
Will Self. Photograph: David A. Selby
Will Self reflects on his connection to literary modernism: 'As a bookish adolescent I sopped up texts as if I were blotting paper and they were fluid. My unstructured absorption of the European canon was only intensified by my refusal to submit to the strictures of a conventional English literature degree course: I never took in the historicist perspective that leads ineluctably from Sweet's Anglo-Saxon Primer, through Spenser and Shakespeare to the robust, door-stopping certainties of Victorian triple-decker novels. Instead, already by the time I lay in that Jericho aquarium, I was a devotee of those works marked by an inability to suspend disbelief in their own formal properties. Rabelais's Gargantua and Pantagruel, Cervantes's Don Quixote, Sterne's Tristram Shandy, Melville's Moby-Dick and Lermontov's A Hero of Our Time – these works spoke paradoxically directly to me in their very sense of indirection. I understood intuitively rather than systematically that all these works were examples of a form we might call "pre-modernism", insofar as they anticipated the same existential problems that afflicted Joyce, Woolf, Djuna Barnes, Eliot and other literary modernists to come. That the novel in its inchoate state was more capable of self-questioning experimentation is unsurprising for all sorts of social, cultural and historical reasons, but we can equally ascribe to the writers themselves a sensitivity to what Gabriel Josipovici, in his book What Ever Happened to Modernism?, characterises as an essentially timeless awareness: the simple impossibility of going on, if to go on is to continue with well-established ways of depicting the world in art.' [Read More]

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11.8.12

Clarice Lispector and Jewishness

Adam Kirsch on exoticism and Jewish identity
Clarice Lispector
From The Tablet (link via 3:AM Magazine): 'If you take the four volumes of Clarice Lispector’s fiction recently published by New Directions and put them side by side, their covers join to make up a single image of Lispector’s face. It is a clever allusion to, and example of, the way so much commentary on Lispector focuses on her appearance. In a much-quoted sentence, the translator Gregory Rabassa called her “that rare person who looked like Marlene Dietrich and wrote like Virginia Woolf.” This kind of focus on a woman writer’s appearance is all too common—it happens with Virginia Woolf as well—but in the case of Lispector, her exotic beauty was just one element in a larger myth that she herself did much to cultivate. As Benjamin Moser, who edited these four books, showed in his 2009 biography Why This World, even during her lifetime Lispector was the subject of wild rumors and speculation by her fellow Brazilians. She was said to be a foreigner, or maybe a man writing under a pseudonym; “reading accounts of her at different points in her life,” Moser writes, “one can hardly believe they concern the same person.”' [Read More]

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27.6.12

That Other Word: Episode 4

A free online podcast discussing literature and translation

An announcement from That Other Word:

That Other Word is a podcast run jointly by Daniel Medin (Center for Writers and Translators, Paris) and Scott Esposito (Center for the Art of Translation, San Francisco).

Each episode features a discussion between Daniel and Scott on recent noteworthy literature in translation, and then an in-depth interview with writers, translators, editors, and publishers. The podcast hopes to celebrate and explore various and under-appreciated aspects of translation, not only into and out of English, but other languages as well.

This episode’s opening conversation celebrates literature from Eastern Europe: Daniel Medin, speaking from Book Expo America in New York City, is impressed with Mikhail Shishkin’s forthcoming novel Maidenhair, and Scott Esposito loves Marek Bieńczyk’s genre-bending Transparency. They hope that Julius Margolin’s memoir from the Gulag, Voyage au pays des Ze-Ka will make its way into English soon, and in the meantime they enjoy the biting humor of Éric Chevillard’s Prehistoric Times and Demolishing Nisard. Finally, Contemporary Georgian Fiction, the latest in Dalkey Archive Press’ series of regional anthologies, provides a welcome introduction to writing from an often-overlooked country.

Daniel Medin then speaks to Antoine Jaccottet, who founded the Paris-based press Le Bruit du Temps in 2008 and has since brought out an admirable collection of works in translation, collected works, memoirs, poetry, and philosophy. He has stated that the press’s mission is to publish, if possible, “constellations of books rather than books in isolation. A bit like a musical season: we establish projects around an author (Browning), a book (The Tempest), a theme.” He speaks about the publishing program of Le Bruit du Temps, the importance of translation, Robert Browning, Isaac Babel, Julius Margolin, Virginia Woolf, Zbigniew Herbert, and Osip Mandelstam. The conversation concludes with a bilingual reading: Medin recites Gabriel Levin’s poem “In Alexandria” in the original English, and Jaccottet reads the beautiful French translation by Emmanuel Moses.

Podcast

Listen to Episode 4 on That Other Word website.

Links

The American University of Paris: Center for Writers and Translators
Center for Writers and Translators: Facebook
Center for Writers and Translators: Twitter

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25.3.12

Writers' Bedrooms

Bedrooms of famous writers, past and present
William Faulkner's bedroom
Apartment Therapy has posted photographs of the bedrooms of famous writers, including William Faulkner, William S. Burroughs, Virginia Woolf, Truman Capote, Ernest Hemingway, Marcel Proust, Sylvia Plath, Henry David Thoreau, Emily Dickinson and Victor Hugo (link via Jennifer Dawn Whitney) [See More]

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2.3.12

Grant Gee, Patience (After Sebald)

'Gee emulates the act of attentive reading.'
A still from Grant Gee's Patience (After Sebald)
Vertigo reviews Grant Gee's recent documentary about W. G. Sebald, Patience (After Sebald) [Read More]

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17.2.12

Modernism Then and Now

A conversation published in 3:AM Magazine
In 3:AM Magazine, David Winters and Anthony Brown discuss modernism, then and now [Read More]
28.1.12

Katja Behling, Martha Freud: A Biography

What was it like to be Sigmund Freud's wife?
Sigmund Freud with his wife, Martha Bernays Freud (center), and her sister, Minna Bernays (left) in 1929.
Jenny Diski reviews Katja Behling's Martha Freud: A Biography (translated by R.D.V. Glasgow) in the London Review of Books:
In the membership roll of the worshipful guild of enabling wives, the name of Martha Freud ranks with the greatest: Mrs Noah, Mrs Darwin, Mrs Marx, Mrs Joyce, Mrs Nabokov, Mrs Clinton, and their honorary fellows, Mr Woolf and Mr Cookson. Wives, of either sex, are what keep the universe orderly and quiet enough for the great to think their thoughts, complete their travels, write their books and change the world. Martha Freud was a paragon among wives. There is nothing more liberating from domestic drudgery and the guilt that comes of avoiding it than having a cleaning lady who loves cleaning, a child-carer who’s content with child-care, a homebody who wants nothing more than to be at home. And Martha Freud was all those things. Quite why she was those things is something that her husband might have been the very person to investigate, but Freud was nobody’s fool and knew when to leave well alone in the murkier regions of his personal life – especially that dark continent in his mind concerning women. [Read More]
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