Frank Kermode, whose books include Romantic Image (1957), The Sense of an Ending (1967) and Shakespeare’s Language (2000), was the Lord Northcliffe Professor of Modern English Literature at University College London and the King Edward VII Professor of English Literature at Cambridge. He inspired the founding of the LRB in 1979 and wrote more than two hundred pieces for it.
His first, in the first issue of the paper, was on millenarianism, ‘the myth concerning the End’, and his last on Philip Pullman and the parable of the prodigal son. In between he wrote on poets (‘T.S. Eliot and the Shudder’), novelists (Zadie Smith), critics (Paul de Man), Shakespeare, music, psychoanalysis and his wartime experience in the navy (‘My Mad Captains’). A selection of his pieces for the paper is available from the LRB store. He died in 2010 at the age of ninety and a collection of short memoirs by LRB contributors can be found here. ‘Papers speak through their writers,’ Mary-Kay Wilmers wrote after his death. ‘And of all the London Review’s writers Frank Kermode was the one through whom we spoke most often and most eloquently.’
Of the seven volumes of diaries published over the years by James Lees-Milne two have now been reissued as rather grand paperbacks, along with an eighth, a final hardback selection made by Michael Bloch. They all have titles like Ancestral Voices, Caves of Ice, Through Wood and Dale, Midway on the Waves and Prophesying Peace, and it will not escape the notice of the literate public that they...
Raymond Carver was much taken with the idea that every writer creates a distinctive world: ‘Every great or even very good writer makes the world over according to his own specifications … It is his world and no other.’ The idea is hardly original but one sees why he liked it. Carver’s world is something like a room in which the television is always on, unless you...
Empson has been dead these 16 years, and although his voice was often recorded it now seems difficult to describe it. John Haffenden says he had one voice for poetry and another for prose. Empson himself thought ‘the reader should throw himself into the verse, and not do it with “reserved” English good taste.’ The best idea was to ham it ‘like a provincial Shakespeare a hundred years ago’. According to Naomi Lewis this resulted in his ‘presenting his love poems in the sardonic tones of a 17th-century New England elder directing the trial of a witch’. Haffenden describes Empson’s as ‘a patrician voice, with a slightly sardonic timbre’, which seems a fair description of his everyday tones, and so is G.S. Fraser’s – ‘an odd, sad, snarly voice’. Of his poetry reading John Wain said he rendered some passages ‘like a Neapolitan stevedore, laryngitically croaking others’. In private sitting-rooms he used a quieter tone, ‘though the curious angularity of rhythm’, which some like and some do not, was still present.’‘
This National Gallery exhibition has a catalogue of extraordinary splendour and is accompanied by four programmes on BBC2’s new Art Zone slot. In the Gallery itself there are further aids to understanding in the form of a film show, CD-Roms and audiotapes. A BBC book accompanies the series, and Neil MacGregor, the indefatigable director of the Gallery, not only does the TV presentations but is making a hectic lecture tour (Glasgow, Liverpool, Cardiff, Belfast: admission free). We are talking about as professionally orchestrated an art offensive as we are ever likely to see.
Jonathan Raban is afraid of the sea, saying it is not his element, which is probably why he spends so much time on it. He does not claim to be a world-class sailor, though he is obviously a competent one. One good reason for sailing is that, being a writer, he likes to write about having sailed. Sailing is guaranteed to provide alarms and achievements for his pen to celebrate.
Stefan Collini talks to Thomas Jones about the life and work of Frank Kermode, and Mary-Kay Wilmers remembers him as a contributor to the LRB.
The Oxford English Dictionary cites more than 33,000 passages from Shakespeare to illustrate the sense of English words. About 1900 of its main entries have first citations from Shakespeare....
Asked in 1933 what his favourite among his own poems was, Wallace Stevens said he liked best ‘The Emperor of Ice-Cream’, from Harmonium (1923). The work ‘wears a deliberately...
Criticism for Frank Kermode is the articulation of assumptions, a sort of phenomenology of interpretative need. Its job, as he says in The Sense of an Ending (1967), is ‘making sense of the...
‘Reading others people’s letters, like reading private diaries, offers thrilling and unexpected glimpses into the lives of others,’ claims the dustjacket of The Oxford Book of...
Frank Kermode having now become ‘Sir Frank’, it seems a good moment to take a look back over his remarkable career: though by no means because that career is at an end, for he is...
Frank Kermode belongs to no sect of literary criticism, and he has founded no school. Like William Empson, whom he praises as a ‘genius’ of criticism, Kermode has always been more...
Frank Kermode’s History and Value reads the literature of the Thirties as ‘a love story, almost a story of forbidden love’. The story is usually told in political terms, but the...
‘Everyone communes with the Bible,’ wrote Marilyn Butler recently in her Cambridge inaugural lecture, commenting on the recent re-inclusion of the Biblical canon in the canon of...
Like relics of the True Cross, there are said to be enough splinters to make an orchard from the mulberry tree planted by Shakespeare in his garden at New Place. The Shakespeare canon has excited...
Eagleton’s book is both a primer and a postmortem. It surveys the varieties of recent and present-day literary theory, only to suggest – in its closing chapter – that they had...
Frank Kermode’s new book contains a great deal of graceful and dignified prose, especially in the last chapter, and many of the examples are of great interest. It seems to argue that no...
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