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...
Humankind, he told us himself, ‘cannot bear very much reality’. One way to escape having to confront that disagreeable element was to go into hiding. For much of the second half of his life, T.S. Eliot was a man on the run, retreating to actual or symbolic boltholes, wearing a succession of masks, relying on routine to help him escape detection – even, it sometimes seemed, detection by himself.
Once at a gate with cherries. Know this quickly buried nowor less to file history brief stuffed full of pen force, the timeit takes to various accounts echoing in my library to ensurepassage broke the . . .
Time is fake, and it is the realest thing there is. You can’t avoid the evidence, even if you aren’t looking: only four days in a year are 24 hours long; before the industrial revolution the weekend . . .
In 1936, two very different novels about plantation culture and the Southern experience of the Civil War received verdicts from the New York Times. Margaret Mitchell’s Gone with the Wind – with . . .
As Adèle Yon tells it in Mon vrai nom est Elisabeth, when she was eighteen she went to a party, taking with her a bag of weed. A distant cousin who was also at the party made a beeline for her, or . . .
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.
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...
Writing about children’s literature by Joan Aiken, Bee Wilson, Marina Warner, Wendy Doniger, Rosemary Hill, Jenny Turner, Marghanita Laski, Andrew O’Hagan, Jenny Diski and Gillian Avery.
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.
Once, they caught me in a snareand plucked me to the pinkand left my feather-shafts to curein salt and flowers of zincthey rolled them up in mutton fatand set them by their cotsthen dealt my flesh...
a dead queen a red kingan orange polis crashwhere is the high styleo poet the republic requires& where the Polish heroes& can the heroic be generalcommunal asks the engorgedpopulace we we...
The first few pages of Into the Weeds give the impression of someone starting to regret that she ever agreed to conduct a behind-the-scenes tour of what amounts in the four volumes of the uniform edition...
your mind. Turnaround. Lookthe other way.Is there anotherway. Go ahead. Try to positthe future. It’sjust down there she sd, hesd, the bodies torn topieces sd, the skins like rags,the bloody...
‘Art arises,’ Auden writes, ‘out of our desire for both beauty and truth and our knowledge that they are not identical.’ We want things two ways, which analysis says we cannot have; but for a...
Despite her novel’s conventional set-up, Rivera Garza isn’t interested in fulfilling the murder mystery contract. When a detective tells someone ‘you’re the prime suspect in this case,’ it’s...
Betwixt and between is a strange place for any major writer to be more than a decade and a half after their death, and Updike’s standing in the literary hereafter remains profoundly iffy. It’s one...
Good luck itself has a releasing effect on the spine, she was surprised to discover. She counted on some extra good luck and would try to feel kindred with the hunched figures advising her. He was...
Counting came first,then worry.Was someone missing?‘First’ came afterwards. *Worry came...
The Danish writer Olga Ravn has recently published two short novels, one set in the future and one in the past. Both concern insular societies whose members turn on one another with fatal consequences....
OublietteIn the years of dark listeningto what lay between the seen and the saidI might catch a true thoughtjust as her mind forced it so far downthat it passed through the floor of herselfand...
More than one variety of omniscience is on show in Saraswati. What is referred to as an omniscient narrator is usually one able to slip in and out of the minds of a modest number of characters, something...
Who was English; who was American? If Auden was English, was T.S. Eliot American? Or was it the other way around? Eliot’s own reply in 1953 was: ‘I do not know whether Auden is to be considered...
‘Who’s afraid of Ludmilla Petrushevskaya?’ was the title of an essay that appeared in a Russian émigré literary journal in 1984. Petrushevskaya’s stories – short tales of doomed romance and...
Reading the work that Susan Howe has produced over the past half century, one marvels at the consistency and depth of her inquiry. If much of her writing sounds like the apotheosis of Eliotic impersonality,...
1breakfast is ready Dadhappy birthday to you it’s not my birthdayyou better get a move on sit down Dadwho’s been using my razor you don’t have a razorwhy don’t you just...
The universe has no centre. What Pynchon has mapped is a world that is continuous and connected, where borders, however securitised, are porous. Drop a pin on the map, anywhere on the map, and that’s...
Driving from Durrus to Ballydehobto see for myself the family farmhousethey burned my grandmother out ofa hundred years ago the hedgerowon my right gives way to intermittentflashes of the lovely...
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