Writing by Nobel Prize winners from the LRB archive: Kazuo Ishiguro, Doris Lessing, Seamus Heaney, Isaac Bashevis Singer, John Hume, Nadine Gordimer and Amartya Sen.
The guiding consciousness of From From feels quadruply alienated: Monica Youn is not fully or comfortably American, not Korean, not an immigrant, permitted neither to see herself as a victim nor to take action against the cruelty she sees everywhere, now that ‘the poem can no longer pass as a White poem.’
Promoting literary fiction can seem like a mug’s game at the best of times, with all those writers perpetually at the peak of their powers, but there’s a special reason for the whistling-in-the-dark . . .
In the TV drama Bad Sisters, set in Dublin, four sisters conspire to murder their brother-in-law John Paul, an abusive monster who is married to their beloved sister, Grace. The dynamics of the marriage . . .
As in a fairy tale, a girl is running through a dark wood. She owns nothing in her own right: her boots were stolen off the corpse of a smallpox victim; her leather gloves were taken from her mistress . . .
‘First/Bunny died, then John Latouche,/then Jackson Pollock,’ Frank O’Hara reflects during a post-prandial stroll around midtown Manhattan in ‘A Step away from Them’, written in August 1956 . . .
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...
Paul de Man was born in 1919 to a high-bourgeois Antwerp family, Flemish but sympathetic to French language and culture. He studied at the Free University of Brussels, where he wrote some pieces...
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 by Nobel Prize winners from the LRB archive: Kazuo Ishiguro, Doris Lessing, Seamus Heaney, Isaac Bashevis Singer, John Hume, Nadine Gordimer and Amartya Sen.
Writing about Russian Americans by Jenny Turner, Hans Keller, Hari Kunzru, Christopher Reid, John Lanchester and Craig Raine.
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.
I am not sure if A.S. Byatt has had a worthy encomium; nor am I sure that I am the one to give it to her. I do know that she is too little read, not quite respected. Some of this is due to the widely...
Pragmatism wants us to ask, what is the life we want – or think we want? Whereas psychoanalysis wants us to ask, why do we not want to know what we want?
With scores of copies of each book, many in the world’s most prestigious libraries, Thomas James Wise had put more than a thousand individual fakes into circulation. It was forgery on an industrial scale.
Queneau recognised a gulf between literary French and the contemporary spoken language: ‘I came to realise that modern, written French must free itself from the conventions that still hem it in.’ What...
Is Rachel Cusk’s new book a novel, a series of essays or a philosophical inquiry? Parade sends the coin spinning on its edge every time you flip it. It’s the most musical work she has written,...
So much in Long Island goes unsaid. It’s a world in which people speak knowledgeably (and sometimes bitchily) about others but reveal little of themselves. As well as secrets, there are problems of...
These days prose poetry often appears, in anglophone poetry at least, as one option among many: free verse, formal verse, prose poetry, erasure poetry, whatever – it’s all good! (It’s not all good.)...
In Mark Twain’s novels, slaves are freed out of Christian charity – someone remembers them in a will. Percival Everett’s plots are more likely to hinge on the use of firearms.
After the moment in You Dreamed of Empires that brings together Moctezuma and Marc Bolan, Álvaro Enrigue has nowhere to go but into reverse. You can’t reinflate a popped balloon, but you can reinstate...
J.G. Ballard was consistent in saying that his imagery came from deep within himself – until it crossed a certain threshold of weirdness, at which point he began to argue (at least some of the time)...
With what he called his ‘anthropological eye’, Wilson set out to dramatise the ‘dazed and dazzling … rapport with life’ which allowed African Americans to navigate a white world not of their...
Her childhood in rural Warwickshire gave Comyns the material for her first book, Sisters by a River. It was essential to much of what followed in both life and work, though she was lucky to get out of...
Brontë was interested in consequence. She couldn’t care less about why people do the things they do. The fact is that they do them.
Like good theatre, Patrick deWitt's fiction is full of dialogue, quick, eventful, nimble. Then there is the life-altering incident, which is always a monologue delivered centre-stage and projected to the...
So many of Hisham Matar’s themes – trauma and vulnerability, the question of how to oppose authoritarianism, the experience of exile – seem very contemporary. Yet there is something profoundly conservative...
Marxism is about leisure, not labour. The only good reason for being a socialist, apart from annoying people you don’t like, is that you don’t like to work.
As Seamus Heaney’s fame grew, and ‘the N-word’ (Nobel) added lustre, he attracted intrusive commentary. There were ‘feminist uppercuts’ and ‘Marxist flesh wounds’ from the academics. The...
Johnson insisted that ‘No man but a blockhead ever wrote, except for money,’ and that he would therefore write about anyone or anything if the price were right – a hard-nosed attitude to his craft...
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