16 March 2017
When I heard, a few months ago, that Paul La Farge's new novel would be about H.P. Lovecraft, I groaned. For one thing, I don't care about Lovecraft (no, more than that: I actively dislike Lovecraft's writing, life, everything); for another, there's a boom in people writing about Lovecraft these days. Good writers, too! Not just the hacks of fandom churning out their unintentionally almost-funny imitations, not just cretins of the sort who bought Weird Tales because they would rather run it into the ground than have anybody taint its legacy with stories that aren't imitations of Lovecraft — no, I'm talking about good writers, interesting writers, original writers, and—
Ugh, I just don't get it. And then comes the announcement about Paul La Farge, a writer I've enjoyed for almost twenty years now, ever since a friend of mine spent some time at the MacDowell Colony when he was there and told me, "There's a guy here who writes weird surrealist stuff you'd like," and when I went to visit her we stopped by the Toadstool Bookstore in Peterborough and I picked up a copy of The Artist of the Missing, read it, liked it (a bit too closely imitative of Kafka/Calvino/Borges, but well done), then later bought his next novel, Haussmann, or, The Distinction, which felt really original to me at the time, almost vertiginously so, as I hardly knew how to get my bearings with it, mostly because it was about histories I knew nothing about, but it haunted me. And then The Facts of Winter, a beautiful book of shimmering weird dreamstuff, lovely and yet also insubstantial. (I missed Luminous Airplanes somehow.) There were also various fun essays and interesting short stories that I caught here or there.
Thus, for some time now, La Farge's name has been one of the few that will induce me to pick up a book or magazine on the strength of his byline alone. His writing and his perspective are singular.
But ... Lovecraft? What was going on? Was he tired of suffering the obscurity of the highly literate, esoteric writer, and now wanted to jump on the apparent gravy train of Lovecraftianity? Everybody's got to eat, so good for him, but what was I to do, I who wanted to read Paul La Farge's new novel but...? And it has such a great Lynd Ward-ish cover... And...
And then, out of the blue, a publicist from Penguin Press asked me if I wanted a copy. What could I say? It wouldn't cost me anything. I could take a look at the first 25 pages or so and if it was too Lovecrafty, I could just pass the book on to one of the many people I know who (inexplicably!) are fascinated by old HPL and find enjoyment in reading his fiction. Sure, I said. Send it along.
08 March 2017
It is time for a capacious, authoritative one-volume selection of Virginia Woolf's essays and journalism. (Perhaps one is in preparation. I don't know.) The sixth and final volume of her collected essays was released in 2011. It is wondrous, as are all of the volumes in the series, but though it's a goldmine for scholars, the series isn't really aimed at the everyday reader; each volume is relatively expensive (though not to the extent of an academic volume, e.g. the Cambridge Editions), and plenty of the material is ephemeral, repetitive, or esoteric.
A one-volume Selected Essays does exist, edited by David Bradshaw and published by Oxford World's Classics. It's better than nothing, but it's small and missing many of Woolf's best essays — including perhaps her single most-frequently-reprinted essay, "The Death of the Moth". Bradshaw also slights Woolf's literary essays, perhaps because the two Common Reader volumes remain in print. Also in print is Michèle Barnett's Women and Writing, and it's a pretty good selection, but as the title suggests, the focus is specific. (And in any case the selection was made in 1979, and Woolf scholarship has developed a lot since then. The authoritative Essays volumes didn't even start appearing until 1986.)
In 1993, Penguin published a two-volume selection of the essays edited by Rachel Bowlby. For what I assume were reasons of copyright, it was only released in the UK. It's a very good selection of 55 essays total (25 more than Bradshaw), though each volume was a little under 200 pages in length, so it could easily have been a single book.
I've been thinking about what it would be useful to have in a new Selected Essays, one built from the now complete Essays volumes. It deserves to be bigger than any of the selections so far, though not so gigantic that it's unwieldy. After all, it's drawing from thousands of pages of material. I would lean toward a length of 400-500 pages, say 150,000 words or so.
Any imagined table of contents I create must be highly provisional at best, subject to the vagaries of memory and personal taste, but as I think about it, I realize I do have some thought about what would be useful for students and, perhaps most importantly, for ordinary readers to have as a collection of Woolf's essays.
07 March 2017
Andrew Haigh wrote and directed one of my favorite films of the century so far, Weekend, and his 2015 movie 45 Years is based on David Constantine's breathtaking short story "In Another Country" — as rich and perfect a story as you're ever likely to read.
For these reasons, I put off seeing the movie for a long time, because I feared it could not live up to my hopes and expectations for it.
And no, it couldn't live up to my hopes and expectations, and my hopes and expectations did, indeed, get in the way — but it's still an impressive film. In particular, the performances and the cinematography are magnificent.
The plot of 45 Years is simple, and starts right from the second scene: An older couple, Kate and Geoff, are getting ready to celebrate their 45th wedding anniversary, having not been able to celebrate their 40th because of Geoff's heart bypass surgery. That week, Geoff receives an official letter letting him know that a body has been found encased in a melting glacier: the body of Katya, his girlfriend before he met Kate. He and Katya were hiking in Switzerland in 1962 when Katya fell into a crevasse. Kate knew this story, but hasn't thought about it in many years. Geoff explains to Kate that to make their traveling easier, he and Katya had told people they were married, and thus he was the next of kin, a detail Kate claims she never knew. The rest of the film is about the tension that then enters Kate and Geoff's relationship because of this new knowledge. Geoff can't stop obsessing about his past with Katya, and Kate is somehow deeply threatened and hurt by it all.
The problem I encountered after a first viewing of 45 Years was that I just didn't buy the premise. This is strange, because it's the same premise as the short story. But Constantine's emphases are rather different from those of the movie — his concern in the story, and in much of his writing, is at least as much with the passing of time and the power of memory as it is in the characters' relationship. The ending is entirely different (very powerful, very sad).