O Cordelia, my name is Lear. My name is
Primo Levi. I sit naked between
The open window and the dark TV screen,
My hands and sex bathed in the fires of the evening.
“Dark TV Screen,” by Charles Simic Read More »
O Cordelia, my name is Lear. My name is
Primo Levi. I sit naked between
The open window and the dark TV screen,
My hands and sex bathed in the fires of the evening.
I used to be too respectful to disagree with Tolstoy, but since I got into my sixties my faculty of respect has atrophied. Besides, at some point in the last forty years I began to question Tolstoy’s respect for his wife. Anybody can make a mistake in marriage, of course. But I have an impression that no matter who he married Tolstoy would have respected her only in certain respects, though he expected her to respect him in all respects. In this respect, I disapprove of Tolstoy; which makes it easier to disagree with him in the first place, and in the second place, to say so.
“All Happy Families,” by Ursula K. Le Guin Read More »
I used to be too respectful to disagree with Tolstoy, but since I got into my sixties my faculty of respect has atrophied. Besides, at some point in the last forty years I began to question Tolstoy’s respect for his wife. Anybody can make a mistake in marriage, of course. But I have an impression that no matter who he married Tolstoy would have respected her only in certain respects, though he expected her to respect him in all respects. In this respect, I disapprove of Tolstoy; which makes it easier to disagree with him in the first place, and in the second place, to say so.
Bruno Schulz was one of two great Polish fiction writers of the two decades between the wars, and so luckless was he, so lucky are we by comparison, that we may read his complete works in one long, trash-blown, weedy, windy, starry, swirling, Lower Carpathian day. His complete surviving works, that is—and that is the legendary pity of it. Such a day need not even take up your time, for you may go there in time according to Schulz, a limb of freak time that sprouts seamlessly out of time as we think we know it.
“The Strange Afterlife of Bruno Schulz,” by Jaimy Gordon Read More »
Bruno Schulz was one of two great Polish fiction writers of the two decades between the wars, and so luckless was he, so lucky are we by comparison, that we may read his complete works in one long, trash-blown, weedy, windy, starry, swirling, Lower Carpathian day. His complete surviving works, that is—and that is the legendary pity of it. Such a day need not even take up your time, for you may go there in time according to Schulz, a limb of freak time that sprouts seamlessly out of time as we think we know it.
The Holy Ghost was browsing in his or her library
one day in the future, unaccountably bored,
oddly querulous, vaguely wanting something that would be
quietly unfamiliar. “It doesn’t have to be great,”
said the Holy Ghost with the faintest note of exasperation
in his or her voice, “just so long as it has its own special character.”
“Why the HG is Holy,” by Mark Halliday Read More »
The Holy Ghost was browsing in his or her library
one day in the future, unaccountably bored,
oddly querulous, vaguely wanting something that would be
quietly unfamiliar. “It doesn’t have to be great,”
said the Holy Ghost with the faintest note of exasperation
in his or her voice, “just so long as it has its own special character.”
The ultimate journey that any writer takes is an emotional one, and that is what informs the geographical and professional passages you undergo, the moral development you attempt, the intellectual maturity you reach for. Being a writer is exhilarating, demanding, fascinating; it is the most wonderful life, but it can be terribly lonely. In fact, I am still surprised each time by how singular and private the experience of writing is—how this big conversation the writer conducts, and this desire to gobble up the world comes down, finally, to a quiet moment alone.
“Roads Taken (and Not),” by Susan Orlean Read More »
The ultimate journey that any writer takes is an emotional one, and that is what informs the geographical and professional passages you undergo, the moral development you attempt, the intellectual maturity you reach for. Being a writer is exhilarating, demanding, fascinating; it is the most wonderful life, but it can be terribly lonely. In fact, I am still surprised each time by how singular and private the experience of writing is—how this big conversation the writer conducts, and this desire to gobble up the world comes down, finally, to a quiet moment alone.
