syllabi July 02, 2020

Writing Motherhood

Several years ago at a friend’s wedding reception, the mother of the groom said to me, “I hope someday you get to experience the joy of a child.” She paused for a moment, then followed up: “Or perhaps you don’t need to, since you’re a writer.” Though many might object to the idea that a book and a child are interchangeable, there’s a long history of comparing—and conflating—these two creations. (After all, what was Ulysses if not Joyce’s attempt to rival parturition in linguistic form?) Writers, both those who are mothers and those who aren’t, have long sought to demonstrate how caring for

culture Feb/Mar 2020

Scenes from a Marriage

Elizabeth Hardwick was a worrier. “What I know I have learned from books and worry,” she wrote in Vogue in June 1971. She worried about her daughter Harriet’s grades in school. She worried about rising rents in New York City and about the price of property in Maine. And she worried about her husband, the poet Robert Lowell. Since age seventeen, Lowell, who was diagnosed with manic depression in the 1940s, had occasionally entered states of high mania, impulsive stretches during which he seduced young women, raged at loved ones, and, once, dangled a friend out a window. For years, Hardwick

culture Sept/Oct/Nov 2018

Into the Wreck

In December 1971, Adrienne Rich, then forty-two, spoke to a roomful of women about what the women’s liberation movement might do for literary study. Like Rich, the women gathered that day were writers, teachers, and scholars. Like her, they had gone to good colleges, studied with famous male scholars, and read canonical male writers; this is how they had learned what literature was and should be. But as women across the country filed charges of sexual discrimination and marched for equality in the streets, they were starting to revise their ideas about literary significance. Like Rich, they

culture March 13, 2015

Ongoingness: The End of a Diary by Sarah Manguso

To a writer, a blank page is at once an invitation and a reproach. Empty, the page is full of possibility, perfect; marred by words, it is perfect no longer. Mallarmé, a strategic user of empty space, wrote of how whiteness defends the paper against the poet. The intrepid writer will make a mark anyway.

To a writer, a blank page is at once an invitation and a reproach. Empty, the page is full of possibility, perfect; marred by words, it is perfect no longer. Mallarmé, a strategic user of empty space, wrote of how whiteness defends the paper against the poet. The intrepid writer will make a mark anyway.

In Ongoingness: The End of a Diary, Sarah Manguso makes a case for letting the blank page win. The book, her sixth, describes how and why its author gave up her compulsive diary writing. A slight volume of hardly more than a hundred pages, Ongoingness is the counterpoint to the author’s actual

Maggie Doherty