Patricia Lockwood

Imight have​ met him once. In September 2015 I flew to Norway for a literary festival. Knausgaard was the headliner, but he cancelled at the last minute and was replaced by an Elvis impersonator. Instead of pictures of Karl Ove smoking the cigarette of the camera down to its smouldering butt-end, the newspaper coverage of the event included photographs of a pastorally beefy Elvis in a white...

Here is what it is: no force on earth will keep a writer’s preoccupations out of their fiction. You are not necessarily looking for them, but you find them every time. There you are in your octagon, holding a glass of whisky in one hand and working one foot into the fur of a bear, when the fire lights up the primal line. That is what I am waiting for, I am waiting to see scarves on page ten of one book and page 56 of another and then one line in the letters and then there is Marian Engel, the person, not an apparition but a body of desire, playing dressing-up in front of the old pier glass mirror. Continuing to want what she always wanted: for life to make art. ‘A world. I wanted a world; yes, that was it, and I wanted a world I could legislate, make my own; not own, not totally control, no, not that: ah, but that was it: have an importance in.’ She stands in the mirror and turns; someone is watching over her shoulder.

What passes for the next thousand pages, between these harmless pastel covers? Life, all of it. Say any character’s name to me – say Pinuccia, and I will flash on her at the beach, pregnant, in love with a boy who isn’t the father, faced with the intolerable prospect of the future she has chosen, drinking coconut so her child will not be born craving it. Donato? I know where all his freckles are. Nadia? Allow me to direct you to the line in my notebook that reads: ‘I hate Nadia beyond all reason.’ In Frantumaglia, Ferrante writes: ‘The as yet unsurpassed force of literature lies in its capacity to construct vibrating bodies from whose veins anyone can drink.’ For a thousand pages we drink, body after body after body, husbands and daughters and teachers and friends, we drink directly from the neck of Naples. And we do it through the character of the writer, Elena Greco (Lenù), who is driven to master fiction as an organising force, a way of ‘finally putting everything back on its feet in the proper way’.

On Election Day,​ as soon as the polls closed, I had to watch the three-hour-long 1972 movie musical 1776. You almost certainly haven’t seen it, so I’ll summarise it for you. The year is – well, you know that part – and the flies of patriotism are buzzing in the room in colonial Philadelphia where the Second Continental Congress is refusing to debate a proposal for...

Strong Opinions​, a collection of Nabokov’s interviews, reviews and essays published in 1973, contains an interview with the great man so brazenly bad, so shocking in each successive clause, that as long as you’re reading it, you’re dreaming of the movie version. Picture Benedict Cumberbatch hunched over a legal pad, sweating lightly, pressing Vladimir Vladimirovich...