THE NARRATORS of Antonio di Benedetto’s “Trilogy of Expectation” blur further in each successive book, until they are all but effaced. In Zama,published in 1956, the narrator has a name (Don Diego de Zama), a location (the Spanish colony of Paraguay), and several exact dates (we encounter him in 1790, then again in 1794, and […]
THE DILIGENT Prussian bureaucrat E. T. A. Hoffmann had a mischievous double. By day, he worked as a jurist in the courts of present-day Poland and Germany; by night, he wrote impassioned music criticism in the voice of his alter ego Johannes Kreisler, a tempestuous composer who also appears in several of Hoffmann’s stories and novellas. The wild cry that rings out in his first novel, The Devil’s Elixirs (1815), could just as well describe his own adventure in bifurcation: “I am what I seem to be, yet do not seem to be what I am; even to myself I am
“BEAUTY, WOMEN’S BUSINESS IN THIS SOCIETY, is the theater of their enslavement,” laments Susan Sontag in her 1972 meditation on aging and femininity. “Only one standard of female beauty is sanctioned: the girl.” It is no accident that women must look like girls to qualify as beauties, for they must also act like girls to qualify as women. “The ideal state proposed for women is docility, which means not being fully grown up,” Sontag continues. Only two ages are available to women: infantile—and too old.
WHEN SHE WAS SIXTEEN, THE FRENCH NOVELIST Anne Serre set out to induce her high school philosophy teacher to fall in love with her. Her strategy was unconventional: “I thought that writing a book, which I would then ask him to read, was the only possible way of seducing Monsieur Rebours,” she recounted in the Times Literary Supplement last year. Though Monsieur Rebours did not succumb, Serre, now sixty-one, remains convinced that books are instruments of seduction. “Fiction, realist or not, doesn’t try to convince but to seduce,” she explained in a recent interview. “A writer’s only responsibility is to
IT IS CUSTOMARY TO START an essay about Kafka by emphasizing how impossible it is to write about Kafka, then apologizing for making a doomed attempt. This gimmick has a distinguished lineage. “How, after all, does one dare, how can one presume?” Cynthia Ozick asks in the New Republic before she presumes for several ravishing pages. In the Paris Review, Joshua Cohen insists that “being asked to write about Kafka is like being asked to describe the Great Wall of China by someone who’s standing just next to it. The only honest thing to do is point.” But far from
“I PAINT THE PORTRAIT OF THE AGE,” the Austrian writer Joseph Roth proclaimed in a 1926 letter to his editor at the Frankfurter Zeitung. “I’m not a reporter, I’m a journalist,” he continued. “I’m not an editorial writer, I’m a poet.”
James Wood, haters claim, is a hater. The New Yorker’s most influential and polarizing critic hates gaudy postmodernists like Paul Auster and cute sentimentalists like Nicole Krauss. He can’t stand the Cambridge fixture George Steiner, whom he pillories as “a statue that wishes to be a monument,” and he dismisses Donna Tartt as “children’s literature.” Most famously, he loathes fidgety, frantic novels by the likes of Thomas Pynchon and Zadie Smith, works of so-called “hysterical realism” that can’t shut up and sit still. In 2004, the editors of n+1 denounced him as a “designated hater.”
In September 2015, in an effort to appeal to millennial voters, Hillary Clinton submitted to an interview with Lena Dunham for Lenny, Dunham’s newsletter. “What would a Clinton administration bring back to the White House?” Dunham asks perkily. Hillary begins: “I will focus on raising incomes, women’s rights, and . . . ” But Dunham interrupts: “I mean more like what furniture. Like, what cute furniture are you definitely going to bring back with you. Like I don’t know if you’re into Etsy or Anthropologie.” Hillary looks at her with exaggerated shock. “Uh . . . ” she falters. It’s
The work of Argentine author Silvina Ocampo is rife with unlikely marriages, deadly weddings, and botched birthdays. Ocampo’s funerals are cheerful, her fêtes funereal. “The cemetery looked like a flower show, and the streets sounded like a bell-ringing contest,” she writes of a funeral procession in “Friends,” one of the stories in the newly translated collection Thus Were Their Faces. The mourners “were so enraged they looked happy. On [the] white coffin they had put bright flowers, which were constantly praised by the women…. I don’t think anyone cried.” In another story, “The Photographs,” a convalescent birthday girl dies in
IN THE WORK of the Argentine writer Julio Cortázar, the shortest distances are often also the greatest: The space between self and other can be maddeningly difficult to traverse. Full of magical transformations, ritual sacrifices, and turbulent prophetic dreams, Cortázar’s writing abounds with troubled pairings, unlikely and uneasy doppelgängers who come apart even as—especially as—they converge. In one of his stories, “The Distances,” a wealthy Argentine woman dreams repeatedly of a Hungarian peasant. When she finally encounters the object of her visions on a bridge in Budapest, she embraces the woman and watches, helpless, as her double walks off in
