elder island // what it’s worth
elder island // what it’s worth
"Dorothy Parker, with Algonquin Round Table members and guests (l–r) Art Samuels (editor of Harper’s and, briefly, The New Yorker), Charles MacArthur, Harpo Marx, and Alexander Woollcott.”
via Wikipedia. can’t get over how thoroughly modern she looks.
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
from “One Art” by Elizabeth Bishop
What follows is perhaps one of the most extended, beautiful, and excruciating descriptions in literature of how a woman can be deeply in love with a man—and not know it.
🇺🇸 (at East River Ferry Williamsburg)
gifts from the art department! very excellent @fsgbooks tote and postcards of classic jacket art. #afternoondelight #design #greenery (at Farrar, Straus and Giroux)
island hopping (at Governor’s Island)
From just on puberty, I lived in funeral:
mother dead of miscarriage, father trying to be dead,
we’d boil sweat-brown cloth; cows repossessed the garden.
Lovemaking brought death, was the unuttered principle.
invasive species (at Minute Man National Historical Park)
"They were great gossips - and when I say great I mean great, because I am talking about gossip in its highest and purest form: a passionate interest, lit by humor but above malice, in human behavior." STET is a memoir by Diana Athill about her half century-long career in publishing. #fridayreads #weeklychin (at Pennsylvania Station)
Technologies of Heartbreak
This seminar will examine how emotion is attempted and transmitted in fiction, the various ways readers are captured and made to care about a story. Emotional effects—rapture, sympathy, desire, empathy, fascination, grief, repulsion—will be considered as techniques of language, enabled or muted by narrative context, acoustics, phrasing, and our own predispositions. How can a sentence, a phrase, a paragraph cause us to feel things, and is a high degree of feeling akin to “liking” a book? What is it to care about a character or the progress of a story, and how was that care installed in us? What are the various kinds and sequences of sentences that, when placed in a narrative, can produce emotional engagement in a reader, affection or distraction, or is it impossible to isolate our reaction to a book in terms of its language? The focus will be on some rhetorical strategies novelists and story writers have used to impart feeling, among them: concealment, indirection, revelation, confession, flat affect, irony, hyperbole, repetition, sentimentality, elusiveness, and sincerity. A tentative book list follows.
2/4 - Revolutionary Road - Richard Yates
2/11 - Mrs. Bridge - Evan S. Connell
4/1 - Blood Meridian - Cormac McCarthy
4/8 - The Fifth Child - Doris Lessing
4/22 - Two Serious Ladies - Jane Bowles
4/29 - The Sheltering Sky - Paul Bowles
5/6 - Correction - Thomas Bernhard
yet another gem rescued from the Princeton Public Library’s $1 bin: THE TEMPTATION OF ST. ANTHONY by Gustave Flaubert (illustrations throughout; 1950). #loosewomen #hermits #lust #death
— The sorry state of Amtrak (and I love trains).
"Her summermindedness / embraces all full green things / & banishes nothing." utterly obsessed with Maureen McLane at the moment and this spectacularly-spined Les Murray collection just arrived @fsgbooks so this edition of #weeklychin is all about the poetry. (and my baggy pushing-casual-Friday boyfriend jeans.) (at Farrar, Straus and Giroux)