Summer morning reading from the LRB archive by Angela Carter, Eleanor Birne, Steven Shapin, Tom Crewe, Patrick McGuinness and Jenny Diski.
A lot of contradictions are laid out in Michelle de Kretser’s Theory and Practice, and one’s tolerance for graduate students – clearly infantilised by their milieu, despite being in their mid-twenties – may be sorely tested. Is this a novel of ideas, or a novel about people who like to talk about ideas? I suspect the latter.
Satire is a great angry sprawling mass. It’s one of those literary phenomena which is impossible to define but which most people recognise when they see it – unless they’re as dim as the Irish . . .
Two actors enter to begin a play, in an assumed midnight darkness. Both are military men, sentinels. One, Barnardo, barks at the other, Francisco, the play’s first line: ‘Who’s there?’ This . . .
Awoman in a field cradling a baby and whispering: ‘This is what they want to take from you.’ A man explaining that bathing in cold water reduced his age by three years. An animated frog. A group . . .
Ionce shared a green room at a literary festival with an elderly American actor who said he didn’t know where he was, why he’d been invited or what he was supposed to do. I felt uncomfortable listening . . .
When he is in flight you are glad to be alive. When he comes down wrong – which is often – you feel the sickening turn of an ankle, a real nausea. All the flaws that will become fatal later are present at the beginning. He has a three-panel cartoonist’s sense of plot. The dialogue is a weakness: in terms of pitch, it’s half a step sharp, too nervily and jumpily tuned to the tics and italics and slang of the era. And yes, there are his women.
I should state up front that I am not a fan of programme fiction. Basically, I feel about it as towards new fiction from a developing nation with no literary tradition: I recognise that it has anthropological interest, and is compelling to those whose experience it describes, but I probably wouldn’t read it for fun.
Stefan Zweig just tastes fake. He’s the Pepsi of Austrian writing.
Way back in the pre-theoretical Fifties, a journalist called Ivor Brown used to have elementary fun at the expense of a serial intruder on our insular peace of mind, a bacillus known as the LFF,...
One day early in the 1590s a clown came onto a London stage, holding a piece of string. At the end of the piece of string was a dog. The dog, possibly the first on the Elizabethan stage, I want to...
The only sensible attitude to the Booker is to treat it as posh bingo. It is El Gordo, the Fat One, the sudden jackpot that enriches some plodding Andalusian muleteer.
Hard-bitten, aggressively up-to-date in the way it took cognisance of the fallen contemporary landscape, yet susceptible also to the pristine scenery of an imaginary Anglo-Saxon England, Auden’s original voice could not have been predicted and was utterly timely.
So the working fairy does at least half a mile a second, probably two-thirds, and the cruising royalties can in effect go as fast as her, if they need to. Puck claims to go at five miles a second, perhaps seven times what the working fairy does. This seems a working social arrangement.
Summer morning reading from the LRB archive by Angela Carter, Eleanor Birne, Steven Shapin, Tom Crewe, Patrick McGuinness and Jenny Diski.
Writing about time by David Cannadine, Perry Anderson, Angela Carter, Stanley Cavell, Barbara Everett, Edward Said, John Banville, Rebecca Solnit, David Wootton, Jenny Diski, Malcolm Bull, Andrew O’Hagan...
Mark and Seamus look at the life and work of Elizabeth Bishop, the east-coast American poet who enjoyed a limited audience, and published relatively little, in her lifetime, but whose reputation has grown...
In their first episode together, recorded in 2017, Mark Ford and Seamus Perry looked at the life and work of Philip Larkin, a poet much written about in the archive of the London Review of Books.
Mark and Seamus discuss the life and work of Thomas Hardy, with its blend of bitterness of tenderness, its intense dramatisations of loss and grief, and its inversion of traditional tropes of love poetry...
Mark and Seamus discuss life and work of W. H. Auden, from the influence of his parents and his political development, to how his poetry emerged from a meeting of English tradition with high modernism,...
Mark and Seamus discuss the life and work of Stevie Smith, ‘an eccentric poet with a tenacious reputation,’ and a famous performer of her poetry, considering the despair that underlines her best work,...
Mark and Seamus discuss the life and work of Worcestershire lad A.E. Housman, whose imaginative poetic landscape of a vanishing England in A Shropshire Lad, with its expression of the agony of thwarted...
Mark and Seamus look to that great poet of winter and snow, Wallace Stevens, considering his anecdote-proof life, the capitalist economy of his imagination, and his all-American poetry of precise abstraction.
Seamus Perry and Mark Ford discuss the work of Seamus Heaney
In the final episode of their series, Mark and Seamus confront Robert Lowell: the Boston Brahmin for whom poetry trumped every other consideration, and whose Cold War ‘confessionalism’ came to exemplify...
Mark Ford, Seamus Perry and Joanna Biggs consider the balance of biography and mythology in Plath’s work, situating her as a transatlantic, expressionist poet of the Cold War.
Children’s books revisited in later life may disappoint, but they are immune to the embarrassment associated with outgrown toys. Even if their colours have faded, they expanded the world in a way toys...
I was under no illusion that The Collected Prose would solve the mystery, or lay to rest the lie, of how Plath was absolutely ordinary up to the point that she wasn’t. If anything it deepened that mystery. There...
All the revulsion in Jane DeLynn’s novel can seem antagonistic, but it’s driven by more complicated feelings. Unlike the teenage Lynn, we and the narrator know that disgust is not the only lens through...
Achille Mbembe is the pessimist’s optimist: he delivers a devastating analysis of the contemporary moment while never losing sight of the possibility for a better future. This explains his disdain for...
There is a world which is at times – and today even more – regressive and frightening; cultural analysis must never make the mistake of thinking either that it alone will redeem or can substitute for...
The house style of the early Partisan Review was hard-headed, truculent, dismissive of religiosity (‘mystification’), academicism and ‘folk culture’, sceptical of the American weakness for self-serving...
Masonic creature. Maker. Water encircledsurvivor of hat crazes. Crib fabricator.Chiseller. Tooth enamel’s hardest expressionon any branch of the mammal clade. Stash housebuilder. Stickler....
Mushrooms, trees, turf, twigs, bushes, moss-covered stones: nature is a force in Olga Tokarczuk’s Empusium, incoherent and disorganised, yet also personified, sort of, in the collective voice that...
I groaned my way through The Emperor of Gladness. I writhed. I felt real despair every time I forced myself to open the covers. It was one of the worst ordeals of my reading life. This is because, while...
Georgi Gospodinov was 22 when Bulgarian communism collapsed in early 1990. ‘The end of our training,’ he has written, ‘coincided with the end of that for which we had been trained.’ In his first...
Detective novels offer a means of rehearsing the fearful reality of death, and in this sense the conventions of the genre, with its distracting intellectual puzzles, is a kind of play. A capacity to balance...
Twenty years of writing, reading, thinking and travelling went into Memoirs of Hadrian. Several drafts were burned. But the most striking thing about it is the permission Marguerite Yourcenar gave herself...
A champion self-advertiser, maven of the brag and the humblebrag, Whitman announces in the first pages of Specimen Days: ‘Maybe, if I don’t do anything else, I shall send out the most wayward, spontaneous,...
Detail validates a fiction, giving the impression of a world that can be priced and measured, touched and tasted. But for some writers it’s more than ballast – it represents priceless cargo, and the...
Macunaíma has become a myth. It says something complicated about Brazil, but also about what modernism meant. And eventually it made me admire Mário de Andrade’s decision to look back on his modernist...
There were her nicknames: Nini with the nits at home as a child, Miss Educated in Seacliff psychiatric hospital, Waldo to the writer Frank Sargeson. Then there was what people said about her: she was dirty,...
The difficulty of being in contact with ‘the truth about yourself’ is a theme that runs through Ørstavik’s work. In her three earlier novels translated into English, the protagonists are often thwarted...
William Morris wrote with appalling fluency. Composing verse on trains or while sat at the loom, he could turn out a thousand lines a day. One friend used to stab herself with pins to stay awake during...
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