Showing posts with label Edward St. Aubyn. Show all posts
Showing posts with label Edward St. Aubyn. Show all posts

Monday, May 26, 2014

"superPatricket"

Ian Parker profiles Edward St. Aubyn for the New Yorker (gruesome, gripping):
James met me in London. Within a few minutes, he said, “I have an odd relationship with Teddy, because he has never, ever been, in any way, cruel to me.” He described going with St. Aubyn and Shulman to a weekend party held by “the Earl of somebody or other,” at which the flirtation between St. Aubyn and a fellow-guest was painfully obvious. James also recalled how St. Aubyn sometimes reacted, at dinner parties, to a stranger’s careless remark: “A not terribly bright girl might say, ‘Ooh, that’s fun,’ and he would play with her use of language in a way that humiliated her.” He added, “It was like a wolf savaging a sheep. It was absolutely terrifying, and difficult to interfere with.” I later spoke with a woman who had had exactly this experience, in France: “I said something about a book I didn’t really know. He made me feel very young, and very stupid.”

James placed this behavior in a generational setting. “That’s what Teddy’s father used to do,” he said. In the fifties, James’s parents, both psychoanalysts, had a second home in Cornwall. David Astor, the owner of the Observer and a family friend, encouraged them to visit Arthur Koestler, who was staying nearby “with this person called Roger St. Aubyn.” (“Such was the ‘Dance to the Music of Time’ nature of things,” James said.) Roger, in his early fifties, a qualified but inactive doctor, had by this point divorced his first wife—Baroness Sophie von Puthon, an Austrian—and married St. Aubyn’s mother. Alexandra, Edward’s older sister, had just been born. “My mother described it as an incredible situation in which you had this sadistic, horrible man being vicious to his young heiress wife,” James said. “She was looking after this baby, in this doomy, bleak Cornish place, with Arthur Koestler being intellectual and not particularly nice.”
A reread of the Melrose books is on my list of near-future things to do: I was going to write an essay about St. Aubyn (and may still do so), only laziness and a preference for advancing my own large-scale projects will probably get the better of me. I also have an idea for a class I want to teach on a certain strain of contemporary fiction (projected syllabus to follow - one thing I really like about this time of year is the fact that I am bursting with thoughts and ideas that I haven't had time to pursue during the school year, and now have three months of liberty to do exactly as I like).

I read Lost for Words the other day. Minor work, but with sentences of exceptional sharpness and clarity (I try and avoid using the preposterous "lapidary"): "Her openness to infidelity filled him with an optimism that her choice of infidelity discouraged" (!).

Saturday, January 12, 2013

Closing tabs

Edward St. Aubyn interviewed at the Times (via):
In the English education system, the last two years before university are spent intensively studying a small number of “set books.” Few people — even as slow a reader as I am — are likely to spend longer in the company of a book than an A-level student. The works I studied over those two years were Racine’s “Phèdre” and Flaubert’s “Madame Bovary” for French A-level. “The Portrait of a Lady,” by Henry James; Joyce’s “Ulysses”; poetry by Yeats and T. S. Eliot; and “King Lear” were my set books for English. James’s idea of a “center of consciousness” presiding over a scene, Flaubert’s slogan “le style est tout,” Joyce’s claim that “imagination is memory,” Racine’s austere adhesion to the classical unities and many other aspects of those works became part of the foundations of my sense of taste and, even if I wanted to question them, continued to influence me when I became a writer myself.
Also: the daily routine of Hunter S. Thompson; the career of a human cannonball (FT site registration required).

Monday, December 10, 2012

These fragments

Just finished rereading David Markson's Reader's Block for the final meeting of my master's seminar tomorrow. It is a most amazing novel!

Text for my final style class: the opening chapter of Edward St. Aubyn's final Patrick Melrose novel, At Last. Not always the case, but this time certainly the apportioning of two could be reversed - I was citing St. Aubyn last week as we talked about Austen and D. A. Miller in the MA seminar, and I think everyone who cares about fiction or literature from an intellectual standpoint should read Markson....

Saturday, December 08, 2012

Day in the life

It was an extremely demanding week, full of all the sorts of thing I usually do at work only more so. Everything went fairly smoothly, though, and I've now very beneficially had twenty-four hours off from work: went to see Restoration Comedy at the Flea (it is delightful!) and had dinner afterwards with G. at Petrarca, then had a beautiful morning of exercise at Chelsea Piers. One more day of teaching, and then I've got meetings on Tuesday but few other campus commitments for the rest of the semester, barring end-of-term grading responsibilities and a couple dissertation chapter conferences.

Light reading around the edges: I was rereading the first of Edward St. Aubyn's Patrick Melrose novels for class, and one of the characters is reading Valley of the Dolls, which for some reason I had never read. Amazingly it was available at the Kindle store, so I downloaded it and began reading it immediately. Its portraits of women are at times so grotesque it feels actively malevolent, and I thought several times with relief that times have changed considerably since those days, but it is still a very good read.

Wednesday, December 05, 2012

Survival

I want to read this journal issue; even though I swore this spring I'd never write another novel again, that conviction has waned and I can't help but think there might be a zombie apocalypse travelogue (horror! survivalism!) in my writing future. Part of the appeal is that I wouldn't have to make up the characters or places, just the nature of the zombie apocalypse and the obstacles and dangers our party of adventurers would face. I have the full cast of characters and locations already, in my life....

I did manage to write the lecture (on the first of St. Aubyn's Patrick Melrose novels, truly a work of genius) and also the letters of recommendation. Had an extremely strenuous and rather glorious run in the late morning, in short sleeves - temperature was in the mid-50s, perfect running weather. Class went well, but by the time I got home from work I was ready to collapse.

Finished reading the most recent Phil Rickman Merrily Watkins novel, The Secrets of Pain. Will go to bed shortly.

I have the luxury, for the first time in many days, of not setting an alarm, and I hope to take maximum advantage of the fact that my first actual engagement tomorrow is boxing class at 2pm! A long night of sleep is in order.

Wednesday, November 14, 2012

The depressive third person

At Public Books, my colleague Nick Dames considers St. Aubyn's Patrick Melrose novels (I'm teaching the first one and the opening chapter of the last in my style class this semester):
The Melrose novels, incipiently in Never Mind and baldly by the time of At Last, are also dramatic reassertions of the novel’s standing as the form best capable of describing consciousness without trying to “solve” it. Even more curiously, they insist on the flexibility, diagnostic acuity, and delicate modesty of traditional third-person narration, as if it alone—the odd habit of transforming an I into a he, she, or it—could begin to describe what it is like to be aware of our awareness, to be tied down to the only force we know that promises any freedom. If anything can light up the dark room stealthily enough to tell us what darkness looks like, St. Aubyn suggests with a bit more than diffidence, it might be the oldest and most ordinary of fiction’s resources. The decision to write his own story in the third person is more than legal caution or familial reticence. It is also a strong philosophical claim: only by using that linguistic sleight-of-hand might I get a sense of how I am.

Friday, April 27, 2012

Friday night miscellany

Closing tabs:

Pankaj Mishra is unforthcoming at the FT on Susan Sontag (site registration required), to an extent that caused me to look up his earlier review and find it also somewhat withholding.  I must confess that I am vaguely negative on Sontag; her abuse of her personal charisma (or at any rate the way that it distorted her ongoing intellectual development) is unattractive to me, and the only book of hers I can say really had a deep influence on me was Illness as Metaphor, which I read when I was quite young (14, 15?) and which along with Paul Fussell's The Great War and Modern Memory, which I read around the same time, opened up to me a vision of the sort of book I might want to write.

Maud Newton interviews Alison Bechdel about Are You My Mother?, which I must acquire as soon as possible.  Here's the bit that most interested me (more details in Judith Thurman's New Yorker piece, unfortunately not available online - and I left my copy in the seat pocket on the plane, so I can't retype the relevant bit):
I do write first, but my writing is very drawing-based. I actually write in a drawing application, in Adobe Illustrator. So I'm not just writing in a word processing program, I'm creating these panels on the page and I create little text boxes for the narration or dialogue and I'm able to move that stuff all around. I'm thinking about the page as a two-dimensional field as I write, which feels to me like a kind of drawing even though I'm not drawing with a pencil or not drawing much. I will do occasional sketches. So that takes a really, really long time and that's how I get the whole story mapped out. If you saw the pages at that point, it would be just blank boxes with the text and the dialogue, with the narration and the dialogue and maybe a few images dragged in here and there.
Super-librarian Dave Lull already left this link in the comments, but the opening chapter of Edward St. Aubyn's latest is a must-read.

Miscellaneous light reading around the extremely frayed edges:

Sherwood Smith's Banner of the Damned, which I found appealing but also frustrating (Smith is one of the most hugely talented fantasy novelists of her or indeed any other generation, and yet she writes books so idiosyncratically that it hugely limits enjoyment and readership - in many respects this is much better than George R. R. Martin, only I thoroughly see why his books have reached a much wider audience and hers have internal constraints that will prevent them from doing so).  Cannot imagine that I or, really, anyone else will ever teach such a class, but it would make a very interesting student assignment in a novel-writing class oriented towards epic storytelling and fantasy: it is such an unusual mix of the remarkable and the perverse in terms of storytelling virtues and vices.

Anthony Neil Smith's depressing and mesmerizing All the Young Warriors, which I highly recommend (it will thoroughly depend on your own reading preferences whether you will read either Smith or perhaps neither).

And now I am going to go and consume brain candy in the form of the second half of Robert Crais's Taken....

Saturday, March 10, 2012

Light reading catch-up

I hadn't really intended to, but in effect I am clearly taking the weekend off (tomorrow I have ambitious exercise plans and am also meeting my dad for lunch and the matinee of Nico's ballet)....

Finally had time to read some novels, soothingly!

Edward St. Aubyn's At Last is pretty amazing; I like the aphoristic mode here better than the mode of more profound commentary, but these Patrick Melrose books really are a must-read (and as I said, I think the opening chapter of this one may be the single best novel opening I've read in recent memory).

I considerably enjoyed Anya Lipska's Where the Devil Can't Go, a crime novel about Polish immigrants in London (a good recommendation from Maxine!); Sharon Shinn's Troubled Waters is what my grandmother, speaking disparagingly of certain kinds of sliced bread, would have called 'pap,' but highly readable pap; S. G. Browne's Breathers: A Zombie's Lament is absolutely wonderful (thanks to Jared for the recommendation); Robert Harris's The Fear Index is goofily heavy-handed in its Frankenstein parallels but certainly a page-turner.

Bonus link (FT site registration required, but it's more interesting than what Harris tells us about finance!): school for quants.

Saturday, March 03, 2012

Light reading update

My review of Ellen Ullman's new novel By Blood is up at Slate.  Very happy to be writing for a new 'venue,' as they say!

Miscellaneous light reading around the edges of a busy week: Delia Sherman's lovely young-adult novel The Freedom Maze, which both is and is not like the time-travel books I devoured in my childhood, and Alan Glynn's excellent thriller Bloodland.  Just started on Edward St. Aubyn's At Last, which seemed to me as I read it last night to have what is possibly one of the best opening chapters I have ever seen.

Monday, February 27, 2012

Closing tabs

John Jeremiah Sullivan tires of his voice.  (Via Elif Batuman.)

Anthony Sampson's archive: the corridors of power....  (Courtesy of I.H.D.)

I went to the memorial service for my friend Carey yesterday and am still feeling discombobulated, with a very busy week ahead.  Haven't had much time for light reading, but did enjoy Seanan McGuire's latest October Daye book (it is very good, she has really upped her game with each entry into the series) and also devoured, helplessly, Edward St. Aubyn's Patrick Melrose novels (you can get the quartet in a book or a bundle).

If I can make it through the next week and a half, it's spring break and I get a respite and time to work on novel revisions, but this week is looking mighty daunting!