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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9.3.14

Aashish Kaul, A Dream of Horses & Other Stories

Short story collection draws praise from J. M. Coetzee
Aashish Kaul, A Dream of Horses & Other Stories
From Roundfire Books:

The stories in this collection draw variously on the themes of love and loss, Taoist metaphors, socio-political concerns, and the writer's place and role in the world. Literary and complex yet accessible and fast-paced, each story differs widely in style, motivation, philosophy, and denouement from all the others. The collection encompasses topographies and places from China to France, and Ireland to India.

Critical response

The precisely realized yet dreamlike settings of Aashish Kaul's stories, the fastidious, melancholy sensibility of their no-longer-young narrators, lead us directly into the territory of late modernism, of Borges and Beckett and Nabokov. — J.M. Coetzee

Kaul has done a very necessary thing in A Dream of Horses, which is to mount a passionate and sensual defense of what literature can do for us explorers of the abyss in these anti-literate, imagistic times. He has not done it in the common way but rather in the best possible. Without drawing a circle between those who find their eyes brightened by the printed word and all the rest of humanity, without fetishizing books and the lifestyle that accompanies them, and, above all, without dwelling on that singularly boring individual known as the author, he has nonetheless penned a very sensitive and intricate investigation of the literary sensibility. — Scott Esposito (from the Introduction) [Read More]

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19.2.14

Washington University Special Collections: Travel Grant

The annual travel grant competition is now open to applicants
Design: Rhys Tranter
The Department of Special Collections at Washington University Libraries St. Louis, Missouri is happy to announce that this year’s travel grant competition is now open. The Application Deadline is March 15, 2014. Travel must occur between May 15, 2014 and June 30, 2015.

Travel reimbursement grants of up to $1000 are available to faculty, graduate students, undergraduates, and independent scholars who would like to use our collections for research. Funds may be used for transportation, food, lodging, and photocopying. Applicants must reside at least 50 miles from St. Louis.

The Department of Special Collections is a multi-faceted research institution that contains materials related to a wide variety of academic disciplines. Below is a listing of some of our major collections:

Film and Media Archive: The Film and Media Archive is committed to the preservation of documentary film and other media which chronicle America's great political and social movements, with a particular emphasis on the African-American experience. The collections of prominent filmmakers Henry Hampton (Eyes on the Prize) and William Miles (I Remember Harlem) include hundreds of hours of high quality programming and feature a comprehensive and diverse array of primary interviews, photos, archival footage, and written documents gathered and generated during the film production process. For more information, contact Nadia Ghasedi atnghasedi@wustl.edu or (314) 935-6154, or visit our on-line catalog at http://library.wustl.edu/units/spec/filmandmedia/.

Manuscripts: Collections of literary papers, press archives, and magazine archives. The bulk of the collection consists of the papers of major 20th-century literary figures including James Merrill, Samuel Beckett, Howard Nemerov, Stanley Elkin, William Gass, Mona Van Duyn, and many others. For more information, contact Joel Minor at joelminor@wustl.edu or (314) 935-5413, or visit http://library.wustl.edu/units/spec/manuscripts/.

Modern Graphic History Library: Dedicated to acquiring and preserving distinguished works of modern illustration and pictorial graphic culture. Focusing on artists’ working materials and sketches as well as finished artworks, the range of the collection extends from book, magazine, and advertising illustration to graphic novels, comics, poster design, pictorial information design, and animation. In addition, the collection also contains the archives of fine artists like Ernest Trova that have a relationship with popular culture and mass media. For more information, contact Skye Lacerte at slacerte@wustl.edu or (314) 935-7741, or visit http://library.wustl.edu/units/spec/MGHL/.

Rare Books: Collection strengths include the history of books and printing, especially the English Arts & Crafts movement; the book arts; semeiology and the history of non-verbal communication; a collection of Little Black Sambo books and related objects; and 19th- and 20th-century British and American literature complementing the modern literary archives housed in the manuscript unit. For more information, contact Joel Minor at joelminor@wustl.edu or (314) 935-5413, or visit http://library.wustl.edu/units/spec/rarebooks/.

University Archives: The Washington University Archives is comprised of more than 300 unique collections. Most collections chronicle the history of Washington University from 1853 to the present day. These diverse collections range from the writings of University co-founder William G. Eliot, to student produced publications, and professional and personal papers of faculty members such as Arthur Holly Compton. Other collections relate to 20th-century St. Louis history, with a focus on business, transportation, politics, social welfare, urban planning, and architecture. For more information, contact Sonya Rooney at srooney@wustl.edu or (314) 935-9730, or visit http://library.wustl.edu/units/spec/archives/.

An application form is available at http://library.wustl.edu/units/spec/tg/TravelGrantApplicationForm2014.pdf.

The Department of Special Collections
The Visual Media Research Lab, Washington University Libraries
http://library.wustl.edu/units/spec/
spec@wumail.wustl.edu
(314) 935-5495

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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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19.10.13

The Speech-Gesture Complex: Modernism, Theatre, Cinema

A new title from Edinburgh University Press
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From Edinburgh University Press: Places the performative gesture at the point of intersection between literature, theatre and cinema

This study examines the representation of gesture in modernist writing, performance and cinema. Deploying a new theoretical term, ‘the speech-gesture complex’, Anthony Paraskeva identifies a relationship between speech and gesture which is neither exclusively literary nor performative and which, he argues, is fundamental to the aesthetics and politics of modernist authors. In discussions of works by Franz Kafka, James Joyce, Henry James, Wyndham Lewis, Vladimir Nabokov and Samuel Beckett, Paraskeva shows how this relationship is closely informed by their attention to the performed gestures of actors in theatre and cinema.

Key Features

  • Provides new close readings of major and neglected work by Kafka, Joyce, James, Lewis, Nabokov and Beckett, revealing their complex relations with both theatre and cinema
  • Establishes a new critical-theoretical category, and highlights an unexplored dialogue between Ibsen, Benjamin, Adorno, Griffith, Eisenstein, Chaplin, Brecht, Artaud, Lang, Meyerhold, Duse and Garbo
  • Analyses central and neglected modernist texts alongside stage productions, styles of acting, film history and performance theory [Read More]

Find on Amazon: US | UK

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28.8.13

Pen, pencil or typewriter?

Flavorwire on writers' preferences

From Flavorwire:
It’s no secret that writers can be quite particular about their writing tools. Some might call it an obsession or fetish, but the pens, pencils, notebooks, and other implements that authors have used to create their most famous works endlessly fascinates us. After reading an ode to the beloved Eberhard Faber Blackwing 602 pencil, adored for its smooth, firm graphite, we had to find out more about the tools of the literary elite. Take notes, and save your pennies to purchase these writing instruments for yourself. [Read More]

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29.5.13

Vladimir Nabokov: Life and Lolita

A documentary produced by the BBC

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25.5.13

Doodles by Famous Writers

An online gallery compiled by Flavorwire
Doodles from the journal of Sylvia Plath
From Flavorwire: ‘Sylvia Plath liked to doodle in her diaries, creating illustrations of her life, her dreams, and in this case, her nightmare about being chased by a hot dog and a marshmallow.’ [Read More]

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13.4.13

Nabokov and Flaubert's Early Writing Attempts

Excerpt from an article in The New Yorker
Vladimir Nabokov
From Benjamin Lytal (New Yorker) (link via 3:AM Magazine): ‘A first novel is like spring lamb, tender and pink. Athenas that leap from the writer’s head armor-clad—Marilynne Robinson’s “Housekeeping,” say—may not count. Better to find a novel that requires indulgence—Fitzgerald’s “This Side of Paradise” or Agee’s “Let Us Now Praise Famous Men.” Débuts, even from much tougher writers, allow the reader to enjoy a guilty sense of paternalism: you protect débuts like Naipaul’s droll “Miguel Street,” or James’s thin “Daisy Miller,” or Coetzee’s compacted, miserable “Dusklands,” from the full force of your regular expectations.’ [Read More]

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16.11.12

10 Grumpiest Writers in Literary History?

Flavorwire compiles its list of favourites
Thomas Bernhard
From Flavorwire: 'Berhard is a famous ranter, constantly raising his voice against his country, the culture, life, the universe and everything. Upon being presented with an Austrian national award in 1968, Berhard shrugged, “Everything is ridiculous, when one thinks of Death,” causing some minor public outrage. In his memoir, he wrote, ”I did not want to be anything, and naturally I did not want to turn myself into a mere profession: all I ever wanted was to be myself.” That, at least, he was in spades.'

Also included among the list are Norman Mailer, Gertrude Stein, Dorothy Parker, Vladimir Nabokov, and Patricia Highsmith. [Read More]

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22.9.12

Christopher Plummer plays Vladimir Nabokov on Kafka

Excerpt from a 1989 television film

From The Book Haven:
It’s not quite Vladimir Nabokov (witness the video of the real thing on video here), but rather the actor Christopher Plummer takes a shot at performing the Russian author, who taught at Cornell University from 1948 to 1959.

There doesn’t appear to be much online about Peter Medak‘s short television film from 1989, Nabokov on Kafka, which dramatizes Nabokov’s lectures on Franz Kafka’s The Metamorphosis. Despite NEH funding and TV airing, this film seems to have pretty much disappeared from public awareness. Certainly I had never heard of it before. Anyone know anything about this quirky show? [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]
4.5.12

Tolstoy or Dostoyevsky? The Experts Decide

8 experts seek to answer the age-old question
Leo Tolstoy (left) and Fyodor Dostoyevsky (right)
There's something slightly ridiculous about literary polls. (Or any form of artistic poll, for that matter.) They presuppose, among other things, that creative work can be neatly judged according to a set of empirical standards, or regulations. But, of course, no one can explain in any final or definitive sense why we prefer one book to another, or judge one painter above the next. Love is not a science.

Nevertheless, polls can be fun (if we remember not to take them too seriously). Writing for The Millions, Kevin Hartnett asks the age-old question of 19th century Russian literature: Tolstoy or Dostoyevsky?
As it turned out, I was not the first to consider the provocation. The literary critic George Steiner has provided the most authoritative resolution to the problem with his book Tolstoy or Dostoevsky, which positions Tolstoy as “the foremost heir to the tradition of the epic” and Dostoevsky as “one of the major dramatic tempers after Shakespeare.” Isaiah Berlin considered the seemingly opposing qualities of the two authors in his enduring essay “The Hedgehog and the Fox.” Nabokov argued in Lectures on Russian Literature that it was Tolstoy in a landslide, while America’s First Ladies have tended to give the nod to Dostoevsky: both Hillary Clinton and Laura Bush cite The Brothers Karamazov as their favorite novel. [Read More]
In order to resolve the debate once and for all, Hartnett draws upon 8 experts, from professors to graduate students to critics and columnists:
  • Carol Apollonio, Professor of the Practice of Russian, Duke University
  • Ellen Chances, Professor of Russian Literature, Princeton University
  • Raquel Chanto, Graduate Student, Woodrow Wilson School of Public and International Affairs
  • Chris Huntington, author of the novel Mike Tyson Slept Here
  • Andrew Kaufman, author of Understanding Tolstoy and Lecturer in Slavic Languages and Literature, University of Virginia
  • Gary Saul Morson, Frances Hooper Professor of the Arts and Humanities, Northwestern University
  • Donna Tussing Orwin, Professor of Russian and Chair, Department of Slavic Languages and Literatures at the University of Toronto, and author of Consequences of Consciousness: Turgenev, Dostoevsky, and Tolstoy
  • Joshua Rothman, graduate student in English at Harvard University, and author of the column, Brainiac, which appears every Sunday in the Boston Globe’s Ideas section
Of course, whether we can be convinced by their arguments remains to be seen. [Read More]

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6.2.12

Lydia Davis on Madame Bovary and Vladimir Nabokov

Writer and translator talks about Madame Bovary, Nabokov's Marginalia, and Translation

Author and translator Lydia Davis discusses how she used Nabokov's margin notes from his edition of Madame Bovary to aid her own translation. She also discusses in-depth translation choices that she made. A full audio recording of this event can be heard at the Center for the Art of Translation website (link via 3:AM Magazine) [Read More]

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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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20.10.11

Brian Boyd, Stalking Nabokov

A Press Release from Columbia University Press
Brian Boyd. Stalking Nabokov
The following is a press release from the Columbia University Press website:

Brian Boyd, Stalking Nabokov

At the age of twenty-one, Brian Boyd wrote a thesis on Vladimir Nabokov that the famous author called “brilliant.” After gaining exclusive access to the writer’s archives, he wrote a two-part, award-winning biography, Vladimir Nabokov: The Russian Years (1990) and Vladimir Nabokov: The American Years (1991). This collection features essays written by Boyd since completing the biography, incorporating material he gleaned from his research as well as new discoveries and formulations.

Boyd confronts Nabokov’s life, career, and legacy; his art, science, and thought; his subtle humor and puzzle-like storytelling; his complex psychological portraits; and his inheritance from, reworking of, and affinities with Shakespeare, Pushkin, Tolstoy, and Machado de Assis. Boyd offers new ways of reading Nabokov’s best English-language works: Lolita, Pale Fire, Ada, and the unparalleled autobiography, Speak, Memory, and he discloses otherwise unknown information about the author’s world. Sharing his personal reflections, Boyd recounts the adventures, hardships, and revelations of researching Nabokov’s biography and his unusual finds in the archives, including materials still awaiting publication. The first to focus on Nabokov’s metaphysics, Boyd cautions against their being used as the key to unlock all of the author’s secrets, showing instead the many other rooms in Nabokov’s castle of fiction that need exploring, such as his humor, narrative invention, and psychological insight into characters and readers alike. Appreciating Nabokov as novelist, memoirist, poet, translator, scientist, and individual, Boyd helps us understand more than ever the author’s multifaceted genius.

Praise for the book

A readable collection on one of the 20th century’s greatest writers, this will be enjoyed by Nabokov fans and students of 20th century literature.
Library Journal
A remarkable read—all readers and scholars of Nabokov will need this book.
Michael Wood, Princeton University

About the Author

Brian Boyd is University Distinguished Professor of English at the University of Auckland. His work on American, Brazilian, English, Greek, Irish, New Zealand, and Russian literature, from epics to comics, has appeared in seventeen languages and has won awards on four continents. He is the author of Vladimir Nabokov: The Russian Years and Vladimir Nabokov: The American Years, books on Pale Fire and Ada, and the enormous AdaOnline. He has edited Nabokov’s English fiction, autobiography, butterfly writings, and verse translations and is now editing a collection of the author’s letters to his wife. Also known for his evolutionary and cognitive work, he is the author of On the Origin of Stories: Evolution, Cognition, and Fiction and the forthcoming Why Lyrics Last: Evolution, Cognition, and Shakespeare’s Sonnets and is coeditor of Evolution, Literature, and Film: A Reader. He is currently working on a biography of the philosopher Karl Popper.

[Publisher website]

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17.9.11

Vladimir Nabokov: Literary Psychologist

Has Vladimir Nabokov's writing anticipated trends in modern psychology?
Vladimir Nabokov. Photograph: Yousuf Karsh
In The American Scholar, Brian Boyd asks whether Vladimir Nabokov could be our greatest literary psychologist: 'We could move in many directions, which is itself a tribute to Nabokov’s range and strengths as a psychologist: the writer as reader of others and himself, as observer and introspector; as interpreter of the psychology he knew from fiction (Dostoevsky, Tolstoy, Proust, Joyce), nonfiction, and professional psychology (William James, Freud, Havelock Ellis); as psychological theorist; and as psychological “experimenter,” running thought experiments on the characters he creates and on the effects he produces in readers.' [Read More]

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7.9.11

20 Most Iconic Book Cover Designs?

Online gallery includes classic novels by Salinger, Heller, Lee and Ellison
Anthony Burgess, A Clockwork Orange. Design: David Pelham
Flavorwire lists its top 20 book cover designs (link via Susan Tomaselli) [Read More]

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25.8.11

Anthony Uhlmann, Thinking in Literature: Joyce, Woolf, Nabokov

What can literature tell us about the thinking process?
Anthony Uhlmann, Thinking in Literature: Joyce, Woolf, Nabokov
I'm always interested to hear about studies exploring the philosophical aspects of literature. So, you can imagine my curiosity when hearing about Anthony Uhlmann's forthcoming book, Thinking in Literature: Joyce, Woolf, Nabokov (to be published in paperback on 29 September). The following is a press release from the publisher, Continuum, which includes brief overviews by Richard Begam and Nobel laureate J. M. Coetzee:
In this ambitious contribution to literary theory, Anthony Uhlmann shows how a work of literature can be said to think, and thus in what sense literature helps us to understand the world. On the way he provides exemplary analyses of Virginia Woolf and Vladimir Nabokov at work, as well as useful unfoldings of difficult material from Spinoza and Leibniz.

J. M. Coetzee
Anthony Uhlmann offers an impressively original and compelling series of interpretations that will substantially alter accepted ideas not only of Joyce, Woolf and Nabokov, but also of the epistemology and aesthetics of modernism. Uhlmann‟s Deleuzian approach—post-expressionist and postrepresentationalist— seeks to move beyond the traditional conception of modernism as an “inward turn” centered in subjectivity and interiority. Thinking in Literature accomplishes its highly innovative readings with subtlety, intelligence and insight.

Richard Begam, Professor of English, University of Wisconsin-Madison, USA
Thinking in Literature examines how the Modernist novel might be understood as a machine for thinking, and how it offers means of coming to terms with what it means to think. It begins with a theoretical analysis, via Deleuze, Spinoza and Leibniz, of the concept of thinking in literature, and sets out three principle elements which continually announce themselves as crucial to the process of developing an aesthetic expression: relation; sensation; and composition. Uhlmann then examines the aesthetic practice of three major Modernist writers: James Joyce, Virginia Woolf, and Vladimir Nabokov. Each can be understood as working with relation, sensation and composition, yet each emphasize the interrelations between them in differing ways in expressing the potentials for thinking in literature.

Anthony Uhlmann is Professor of English in the Writing and Society Research Group at the University of Western Sydney, Australia. He is the author of Beckett and Poststructuralism (Cambridge University Press, 1999), Samuel Beckett and the Philosophical Image (Cambridge University Press, 2006) and coeditor of The Ethics of Arnold Geulincx (Brill, 2006). He is chief editor of The Journal of Beckett Studies.

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21.6.11

Author Insults

'Nothing but obscenities'
Oscar Wilde
Flavorwire have compiled a list of the '30 harshest author-on-author insults in history'. Here are just a few:

Friedrich Nietzsche on Dante Alighieri:
“A hyena that wrote poetry on tombs.”

Vladimir Nabokov on Fyodor Dostoevsky:
“Dostoevky’s lack of taste, his monotonous dealings with persons suffering with pre-Freudian complexes, the way he has of wallowing in the tragic misadventures of human dignity — all this is difficult to admire.”

Virginia Woolf on Aldous Huxley:
“All raw, uncooked, protesting.”

Joseph Conrad on D.H. Lawrence:
“Filth. Nothing but obscenities.”

Vladimir Nabokov on Joseph Conrad:
“I cannot abide Conrad’s souvenir shop style and bottled ships and shell necklaces of romanticist cliches.”

Dylan Thomas on Rudyard Kipling:
“Mr Kipling … stands for everything in this cankered world which I would wish were otherwise.”

William Faulkner on Ernest Hemingway:
“He has never been known to use a word that might send a reader to the dictionary.”

Oscar Wilde on Alexander Pope:
“There are two ways of disliking poetry; one way is to dislike it, the other is to read Pope.”

Truman Capote on Jack Kerouac:
“That’s not writing, that’s typing.”

Virginia Woolf on James Joyce:
“[Ulysses is] the work of a queasy undergraduate scratching his pimples.”

[Read More]