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.
H.P.Lovecraft’s name rarely appears today without the requisite condemnation. Yet nobody is really suggesting that we stop reading him, cancel Cthulhu and de-platform the Great Old Ones.
Byron knew just how good Don Juan was. Part way through the poem’s ninth canto, drafted in Pisa in the summer of 1822, he takes a break from a digression on Pyrrhonian scepticism to assess how things . . .
Amit Chaudhuri visited Europe for the first time at the age of eleven. In 1973 the world felt steady; it had ‘a kind of wholeness to it’. The co-existence of capitalism and communism seemed permanent . . .
‘Aren’t you tired of them? One hears nothing else nowadays.’ The peevish Mrs Snowdon, a character in Mary Louisa Molesworth’s ‘The Story of the Rippling Train’ (1887), is grumbling about . . .
‘Too many dreams have been deferred for too long,’ Joe Biden announced in his acceptance speech of 7 November 2020. It isn’t unusual for American politicians to talk about dreams in their speeches . . .
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.
Barbara Kingsolver’s reason for following the plot of Dickens’s David Copperfield so closely is simple. In the acknowledgments, she thanks Dickens for ‘his impassioned critique of institutional...
Alexander Baron was an atheist from a young age, telling his parents that if they insisted on having him bar mitzvahed he would hide a ham sandwich in his pocket and place it on the Torah scrolls during...
At a time when there was no female equivalent of the gentleman’s club, the Yellow Book offered a congenial literary space in which men and women could joke, flirt and briefly imagine themselves free...
I wanted to be in Lorrie Moore world, too, even if her characters were stuck in middle America, usually with disappointed middle-class lives, underwhelming husbands and dysfunctional relationships with...
For Teju Cole’s protagonist in Tremor, as for many of us, the public reassessment of history has been accompanied by a private reckoning. It isn’t only the external world that has been revealed to...
You can read Jen Beagin’s Big Swiss as a set of Russian dolls, each containing a different debate about trauma. Small doll: Om’s conversations with Flavia, in which the sex therapist parrots pop-psychology...
Charles Lamb could not ‘digest’ death, but he gorged on life. Food, for Lamb, was a medium of thought, a master metaphor. The solitude of childhood was the ‘feeder of love, and silence, and admiration’.
The best adjectives for Bruno Schulz’s stories are not so much intellectual as sensual. They’re sticky, fuzzy and so richly textured that they seem almost rotten. The stories move in such a private...
If le Carré saw that the secret services on both sides of the Cold War had a shared interest in keeping hostilities simmering, Mick Herron gets similar mileage from the idea of the enemy within: not in...
In North America, Camus looked for Europe and failed to find it; in South America, he looked for Algeria, and although he didn’t exactly find it, he discovered something both familiar and strange: a...
There’s a scene in Paul Murray’s novel Skippy Dies (2010) in which a science teacher called Mr Farley talks about the word ‘amphibian’. He says that it refers to an...
Taubes, like many postwar artists and intellectuals, turned to surrealism to articulate the trauma of displacement, the secondary trauma of returning to a diminished homeland, and the lifelong challenge...
I first encountered George Orwell in 1977, when a brave English teacher got a group of bolshy 14-year-olds to read Nineteen Eighty-Four and told us to write our own dystopia. It isn’t hard to see why...
‘I am a better translator than he is,’ Willa Muir complained in a 1953 journal. For several generations the couple’s Kafka translations were the most widely read English-language versions. Early...
In Hazzard’s fiction there are very few children, and the ones who do appear are not particularly rewarding. But they are not the enemy. The enemy is the person who sees others as playthings. The enemy...
The trick that Nolan’s Ordinary Human Failings plays is to make us think we’re reading a certain kind of novel, before wrongfooting us. Crime narratives are appealing not just because they’re lurid...
Voltaire regarded the short tale as a duel with the reader, and a form of complicity. He went out of his way to disparage the ‘littleness’ of the form, and to ridicule all fiction, as fables without...
The sheer force of the memories exacted an impressive precision and solidity in Coleman’s expression. And she must have felt the electricity of her novel, as she was writing it, in both directions: channelling...
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