Friday, January 19, 2018

Woody Allen / Quotes / Life


LIFE
by Woody Allen


The 100 best novels No 15 / David Copperfield by Charles Dickens (1850)



The 100 best novels: No 15 – David Copperfield by Charles Dickens (1850)


David Copperfield marked the point at which Dickens became the great entertainer and also laid the foundations for his later, darker masterpieces

Robert McCrum
Monday 30 December 2013 07.29 GMT


David Copperfield was the first book Sigmund Freud gave his fiancee, Martha Bernays, on their engagement in 1882. It was the gift of a lifelong Anglophile to his beloved, a book encrypted with peculiar meaning to a man with a special fascination for the complicated relation of autobiography to storytelling.
Freud's choice – and Dickens's own opinion that David Copperfield was "of all my books" the one he liked "the best" – helps clarify an impossible selection midway through the 19th century. At the outset, I'm going to anticipate your howls of rage. Some Dickens aficionados will be dismayed. Why not Pickwick Papers? Or, better still, Great Expectations? Or Bleak House? Or Little Dorrit? And why not, here in the holiday season, that festive evergreen A Christmas Carol? Or the granite brilliance of Hard Times? Yes, in different ways, all masterpieces. Everyone has their favourite. This is mine.


I love David Copperfield because it is, in some ways, so un-Dickensian. The story – so appealing to Freud – is of a boy making his way in the world, and finding himself as a man and as a writer. In the first half, before Dickens's irrepressible storytelling kicks in and the motor of the novel starts to hum with incident, we find him almost meditating on his literary beginnings. Dickens is one of the first to acknowledge the inspiration of the emerging English canon: Robinson CrusoeThe Adventures of Roderick Random and Tom Jones, the books he finds in his father's library. His own early novels (Oliver TwistNicholas Nickleby and so on) are largely comic picaresques. But here, he focuses on the interior life of his hero, as if saving the plot for later.
The second half of David Copperfield displays Dickens at his magnificent, and often uneven, best. There are the characteristic prose arpeggios, the virtuoso similes and metaphors, and the parade of timeless characters: Mr Micawber, Mrs Gummidge, Betsey Trotwood, Barkis, Uriah Heep, Steerforth, Mr Spenlow (of Spenlow and Jorkins) and Miss Mowcher.


At the same time, Copperfield and Dickens, autobiographer and novelist, become so indistinguishable, the one from the other, that the novelist no longer has the necessary detachment from his material. When the lovely, tranquil reflections on boyhood of the opening pages become replaced by the urgent demands of plot-making, protagonist and author morph together in ways that are not completely successful, though always revealing. As the novel builds to a climax, in which Heep is imprisoned and Mr Micawber, free of his debts, finds redemption as a colonial magistrate in Australia, Dickens succumbs to the pressure to please a hungry public with a satisfying fictional feast. Henceforth in his work, Dickens will become the supreme Victorian entertainer and moralist, the author of those mature, and darker, masterpieces, Bleak HouseHard Times and Great Expectations.

And so, as a key transitional text, David Copperfield becomes the antechamber to his subsequent mastery. But the door into the past is shut for ever; he can never go back. The young man daydreaming about literature among his father's old books has been replaced by the bestselling writer, "the Inimitable". Perhaps this was the poignant truth about creativity that so moved Freud.

Joanne Page as Dora Spenlow and Ciaran McMenamin as David Copperfield in a 1999 BBC adaptation of the novel Dickens considered his best. Photograph: John Rogers/BBC ONE
Note on the text
The novel that Dickens described as his "favourite child" went through many titles, from Only Once A Year and Mag's Diversions to The Copperfield SurveyThe Copperfield Confessions and The Last Will and Testament of David Copperfield. Eventually, with serial publication looming, he settled on The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to be Published On Any Account).

It is hard definitively to identify the true first edition. Following serial publication from May 1849 to November 1850 – in 19 monthly one-shilling instalments, each containing 32 pages of text and two illustrations by Hablot Knight Browne ("Phiz") – the novel, now simply inscribed David Copperfield on the title page, was published in a single volume of 624 pages on 14 November 1850 by Bradbury & Evans of Bouverie Street.
In any event, Dickens's MS, which is now in the V&A, had already undergone significant revision in the transition from magazine to book form. Three further editions (1858, 1859 and 1867) saw additional changes. The most scholarly edition to date is probably the text edited by Nina Burgis (Oxford: Clarendon Press, 1981).


Other essential Dickens titles
Pickwick Papers (1837); A Christmas Carol (1843); Bleak House (1853); Hard Times (1854); A Tale of Two Cities (1859); Great Expectations (1861); Our Mutual Friend (1865)
THE GUARDIAN



THE 100 BEST NOVEL WRITTEN IN ENGLISH






Thursday, January 18, 2018

The 100 best novels: No 14 – Vanity Fair by William Thackeray (1848)





The 100 best novels: No 14 – Vanity Fair by William Thackeray (1848)


William Thackeray's masterpiece, set in Regency England, is a bravura performance by a writer at the top of his game


Robert McCrum
Monday 23 December 2013 06.52 GMT

Vanity Fair jumps out of this list as a great Victorian novel, written and published deep in the middle of a great age of English fiction. Indeed, so commanding was Thackeray at the height of his powers (some say he never wrote as well, or as sharply, again) that Charlotte Brontë even dedicated Jane Eyre (no 12 in this list)to the author of Vanity Fair.
One hundred years after the publication of Clarissa (no 4 in this series), Thackeray not only revels in the possibilities of the genre, he even illustrated his own work with some decidedly inferior woodcuts. Vanity Fair was published in serial form (including some memorable cliff-hangers, for instance Becky Sharp's revelation of her marriage to Rawdon Crawley) from January 1847 to June 1848. Thackeray, on top form, cheerfully exploited an ebullient tradition, transcending all his previous efforts as a writer, novels such as The Luck of Barry Lyndon (1844).


Early drafts of the book, which had the working title "a novel without a hero" lacked the all-important figure of William Dobbin, a thoroughly good and likable character who owes much to Thackeray himself. "Vanity Fair", a title that came in a eureka moment to the author in bed one night, actually derives from Pilgrim's Progress (no 1 in this series) and refers to the fair set up by the devils Beelzebub and Apollyon in the town of Vanity. Unlike Bunyan, Thackeray was hardly a die-hard Christian, but rather a man who relished a life of pleasure and luxury, and who, on the evidence of his letters, found much of the Bible either ludicrous or distasteful. As a title, however, "Vanity Fair" set the tone of the novel in its depiction of a society, rather as "The Bonfire of the Vanities" did for Tom Wolfe (who also illustrated his own work) in 1987.
Thackeray's intention was satirical and realistic. Writing mid-century, he set his masterpiece in Regency England during the Napoleonic wars, intending the lessons of his tale to be applied equally to his own times. In contemporary terms that would be like a modern literary novelist setting their scene during the second world war, or the blitz.

The climax of the novel comes with the battle of Waterloo. Unlike Tolstoy, whose War and Peace was influenced by Vanity Fair, Thackeray was squeamish about military matters, and chose to leave most of the fighting off-stage. This makes the irruptions of violence all the more shocking, as in the death of George Osborne, "lying on his face, dead, with a bullet through his heart" on the field of Waterloo, which occurs almost exactly halfway through the narrative.
Thackeray was highly conscious of his audience and repeatedly breaks off from his story to buttonhole and tease his readers ("the present chapter (8), is very mild. Others – but we will not anticipate those"). The tale, however, will not be denied for long. Upwardly mobile Becky Sharp, and her sweet, devoted friend, Amelia Sedley, are perfectly matched by the caddish rake, George Osborne, and clumsy, decent William Dobbin. The social trajectory of each pair gives the narrative an almost perfect symmetry.


The key to the novel's magic, in addition to the delight it takes in the Regency pageant, probably lies in the contrast between scheming Becky, one of fiction's great female protagonists and awkward, dutiful William whose unwavering love for Amelia mirrors Thackeray's own passion for another man's wife.
Finally, however, for all its realism, Vanity Fair is a bravura performance by a writer who has found his theme. As the serialisation of the novel that would transform its author's reputation draws to a close, Thackeray himself concluded his tale with a nod to the gaudy theatricality of the whole business: "Come children, let us shut up the box and the puppets, for our play is played out."


A note on the text

Vanity Fair, subtitled "A Novel without a Hero", was first serialised in Punch, then published (from the same typesetting) by Bradbury & Evans of Bouverie Street in July 1848. A revised and more definitive text appeared in 1853, without illustrations. Vanity Fair was the first of Thackeray's books to appear under his own name. As a further sign of his self-confidence, in the introduction to the 1848 edition, dated 28 June, the author acknowledges "the kindness with which it has been received in all the principal towns of England… where it has been most favourably noticed by the respected conductors of the public Press, and by the Nobility and Gentry. He is proud to think that his Puppets have given satisfaction to the very best company in this empire."

Some other Thackeray titles:

The Yellowplush PapersThe Luck of Barry LyndonPendennisThe History of Henry EsmondThe Newcomes.



THE 100 BEST NOVEL WRITTEN IN ENGLISH

Octavia Monaco / Ierofania


Octavia Monaco
IEROFANIA




Octavia Monaco / Women



Octavia Monaco
WOMEN


Octavia Monaco. XIIII La Temperanza

Wednesday, January 17, 2018

My hero / Jim Shepard by Joshua Ferris

Jim Shepard
Photo by Barry Goldstein
Poster by T.A.

My hero: Jim Shepard by Joshua Ferris


The American short-story writer and novelist is the finest living teacher of fiction. His insight is humbling, outrageously perceptive and full of humour


Joshua Ferris
Friday 14 November 2014


I
n life a few fine souls come along to make a strenuous case for how a person should be. They aren’t Figures, Philosophers, Immortals. (Not yet, anyway.) They’re subject to the same sad laws of doom as the rest of us, the same misfortunes, the same fate. But they carry themselves with grace, stand for something noble, serve as ambassadors to a better way.

My Hero / Sebastian Walker by Julie Myerson

Sebastian Walker



My Hero Sebastian Walker

Julie Myerson
Sat 16 Jan 2010


I
started working as Walker Books' publicist in 1988. Less than a month into the job – not great timing – I found I was pregnant. But Sebastian's face lit up. "My dear, I'll start a nursery. You can bring the baby into work with you!"

My hero / Bob Moog by Don Paterson



My hero Bob Moog

Don Paterson
Saturday 9 January 2010


B
ob Moog had a great name, which seemed to fit his machines almost as well as Mr Hoover's did his. (He never convinced anyone to pronounce it correctly: it rhymes with rogue.) He was also as far from the public image of "Dr Moog", the lab-coated evil genius and destroyer of human music, as it was possible to get: a sweet, patient, articulate man who saw himself purely as a toolmaker, determined to narrow, not widen, the gap between the player and the instrument.

Tuesday, January 16, 2018

Why is the cover of Fire and Fury so ugly?



Why is the cover of Fire and Fury so ugly?


The bestselling Donald Trump exposé has a startlingly bald, plain cover – but that is in keeping with the no-frills conventions of the politics genre

Sian Cain
Wed 10 Jan 2018 15.38 GMT


Donald Trump and subtlety do not go together naturally, but the cover of Michael Wolff’s bestselling White House exposé Fire and Fury greets the gaze like a towel-snap to the face: shouty, red capitals over a shouty, red man. While the red, white and blue cover is certainly eye-catching, its design has been criticised as too bland and simplistic for a book that has had such an explosive impact. “Why did they have to make the Fire and Fury book cover on Microsoft Word?” reads one derisive Twitter take, while a design website gave it faint praise for echoing “the raw immediacy and faux-outsider aesthetics that underlined Trump’s entire campaign”.


After he was approached by “some folks who think the existing cover is a disaster and a missed opportunity”, designer Edel Rodriguez (who made two striking Trump covers for Time magazine) came up with a new cover for Wolff’s book. His bright and bold design, featuring a fiery Trump looming over a tiny White House, is now being celebrated as the cover that should have been, with some readers even downloading it to replace the original on their e-readers.



The only problem with Rodriguez’s undeniably aesthetically pleasing design is that it is so out of step with current political publishing. A quick glance at the covers of any political imprint shows that boring is best: there are grand capitals galore, an overwhelming tendency towards Helvetica, and nary a picture in sight. Most of them, as covers go, are best likened to dry toast: a perfunctory formality, a vehicle to deliver something more delicious (political gossip, not jam).
Why do political books look so boring? It’s just the way they’ve always been – publishers seem to believe artistic restraint lends the contents extra seriousness. For book designer Clare Skeats, the staidness of Fire and Fury is appropriate: “It’s important that it follows the design conventions of political books, as anything more bespoke and crafted could restrict its potential audience and pigeonhole the content. Obviously, there’s scope for a more creative and explicit design response, but I think that misses the point with a book such as this,” she says.
Whether or not it was a rushed job, as some have speculated, the original jacket designed by Rick Pracher (who, it should be pointed out, has produced many a nice cover in the past) fits the conservative nature of political publishing perfectly. “Arguably, Fire and Fury would have become an instant bestseller with or without that cover simply because of the publicity it received (with a little help from Trump); the title could have been written in comic sans and it would have sold just as well,” says book cover designer Stuart Bache, adding: “Political books don’t need to have aesthetically pleasing covers, they’ve existed for years with a simple photo and serif typeface for the text – and that’s because it works well in its market.”
In recent times, publishers’ renewed efforts to woo readers back to the printed form with attractive covers and nice dust jackets have been credited with many things, from driving customers back to the physical bookstores to a decline in ebook sales.
But when a book as boring-looking as Fire and Fury has gaggles of readers fighting for copies as fiercely as they would over a new Harry Potter (as they did in Washington last week), a truth more terrible than Trump’s diet is revealed: you can’t judge a book by its cover.



"You Can’t Make This S--- Up" / My Year Inside Trump's Insane White House



Donald Trump
by Luke McGarry

"You Can’t Make This S--- Up": My Year Inside Trump's Insane White House

by Michael Wolff

4:00 AM PST 1/4/2018 



Author and columnist Michael Wolff was given extraordinary access to the Trump administration and now details the feuds, the fights and the alarming chaos he witnessed while reporting what turned into a new book.


Editor’s Note: Author and Hollywood Reporter columnist Michael Wolff’s new book, Fire and Fury: Inside the Trump White House (Henry Holt & Co.), is a detailed account of the 45th president’s election and first year in office based on extensive access to the White House and more than 200 interviews with Trump and senior staff over a period of 18 months. In advance of the Jan. 9 publication of the book, which Trump is already attacking, Wolff has written this extracted column about his time in the White House based on the reporting included in Fire and Fury.

Monday, January 15, 2018

Emily Brontë / Melding fantasy and realism in Wuthering Heights



Emily Brontë

Melding fantasy and realism in Wuthering Heights


John Bowen

15 May 2014


Professor John Bowen explores the intertwined nature of fantasy and realism within Emily Brontë’s novel.

A world of passionate intensities

Wuthering Heights creates a world of passionate intensities, in which particular events are burned on the characters’ and readers’ memories, beyond reason, measure or reserve. Terror stalks the book and defines so many of its central relationships, concerned as it is with the ecstatic, eerie and mad. The book plays with death, courts death, stages death, even jokes with death, as we see when the dying Catherine is haunted by the face in the ‘black press’ (ch. 12) or when Heathcliff breaks through the side of Catherine’s coffin or hangs his wife Isabella’s dog from a hook in the garden. The book is fascinated by what lies at the limits of the human and is haunted by the forces of death and the diabolical, by compulsive modes of behaviour, by infantile and sublimely powerful emotions, by the force of irresistible will, and by the terrible consequences done to human beings by radical evil. The book is full of animals, spirits and ghosts, and those, like Heathcliff, about whom we can never be sure.

The extraordinary within the real

It is also a highly organised and rationally planned novel, with a complex time scheme and several interlocking narrators. It sets its extraordinary actions in a vividly realised family history and landscape. It is fascinated by the power of fantasy, particularly erotic fantasy, in people’s lives – Isabella thinks of Heathcliff as ‘“a hero of romance”’ (ch. 14) until she learns the truth of his brutality – but those fantasies take their place within a carefully plotted story about inheritance, intermarriage and theft. The erotic is not separated from the economic, and the passage of power and land across generations. Emily Brontë was fascinated by extreme emotions, radically opposing mental and social forces, and the creation of moments of moral revelation and transformation that were typical both of Gothic fiction and Victorian melodrama, but she could control, ironize and discipline those energies to serious purpose. Through the care she took to implant her writing in a particular history, landscape and material world, through complex time-schemes and inset narrators, through making Gothic into a mode of psychic exploration, she decisively extended the range and affective power of the English novel.

Poetry

Emily Bronte is one of the very few authors to be an important poet as well as a major novelist, and there is a close relationship between the two bodies of work. Many of her poems appeared first in stories of the 'Gondal' world that she created with her sister Anne; she collected them in a manuscript notebook (now in the British Library) entitled 'Gondal Poems' although when she published six of them in the collection Poems by Currer, Ellis, and Acton Bell (1846), she removed all references to Gondal. So the poems do not depend on an underlying narrative context for their power; like other great Victorian poems, they dramatize questions of identity and self through different personae in impassioned utterance and often extreme situations. Like Wuthering Heights, they are drawn to emotional extremity and passion, to scenes of loss and oblivion, and to the affirmation of desire in the face of death.


John Bowen is a Professor of 19th century literature at the University of York. His main research area is 19th-century fiction, in particular the work of Charles Dickens, but he has also written on modern poetry and fiction, as well as essays on literary theory.