In this interview from the Nobel Banquet on 10 December 2019, Literature Laureate Olga Tokarczuk talks about her childhood dream of being a scientist, curiosity as motivation and the importance of translators.
Olga Tokarczuk, (born January 29, 1962, Sulechów, Poland), Polish writer who was known for her wry and complex novels that leap between centuries, places, perspectives, and mythologies. She received the 2018 Nobel Prize for Literature (awarded belatedly in 2019), lauded for her “narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life.” A best-selling author in Poland for decades, Tokarczuk was not well known outside her homeland until she became the country’s first author to win the Man Booker International Prize in 2018 for Flights (2017)—the English translation of her sixth novel, Bieguni (2007).
The legend of St. Tropez starts with a dog, a rooster, and a martyr; and it leads to movie stars, world-renowned artists and distinguished writers. Located on the sparkling French Riviera, St. Tropez has enjoyed the spotlight for more than half a century, for better or worse, with celebrities flocking to this idyllic locale for its beaches and a dose of Mediterranean sun.
A picturesque oasis, St. Tropez has served as inspiration for a who’s who of notable writers from Françoise Sagan to Colette; as well as renowned artists Paul Signac and Henri Matisse; and even filmmakers. However, St. Tropez would not be the same without then belle du jour Brigitte Bardot, her films and lovers and many other famous couples including Annabel and Bernard Buffet and Bianca and Mick Jagger.
St. Tropez Soleilguides the reader through its storied past and ever-evolving present. Featuring annual mainstays such as Les Bravades and the Les Voiles de Saint-Tropez as well as exclusive events like a Chanel fashion show at the quintessentially Tropezian Sénéquier café and the White Party at Nikki Beach begun by Naomi Campbell. But despite all that changes, the spirit of St. Tropez remains the same and this volume is an ode to the unique joie de vivre that keeps everyone coming back.
Simon Liberati is an award-winning French writer and journalist. He has worked for publications such as Purple, Numéro, and 20 Ans and he frequently collaborates with Vogue. He has written ten books including Jayne Mansfield 1967 (2011), which won the prix Femina, and the best-selling Eva (2015).
Alan Ross, for forty years The London Magazine’s editor, found Charteris “one of the most original, quirky and shrewd explorers of the behaviour of the landed gentry . . . and at a time when prose was plain, his was idiosyncratically stylish.”
When Hugo Charteris’s first novel, the haunting A Share of the World, was published in 1953 to the praise of Rosamond Lehmann (who helped to get it published), Peter Quennell, Evelyn Waugh, and Francis Wyndham (Charteris’s relation and consistent supporter), the author, just turned thirty-one, seemed set for lasting fame. It hasn’t worked that way in the almost five decades since his death of cancer in 1970, aged only forty-seven.
Nowadays, few people seem to know his name. This is true among not only the ever-growing majority who pay little attention to novels and novelists, but also the enlightened minority who do.
Step into innovative little gardens of Eden created on small terraces and city rooftops, as well as out in the suburbs and countryside.
As our lifestyles become more sustainable, so does the way we interact with the outdoors. Today’s gardeners aim not only to create decorative outside spaces but also to give something back. No matter what size your patch is, it’s easy to create diverse and rich environments for plants and insects, or grow your own vegetables or fruits. This book presents spaces that are more imaginative, diverse, and sustainable. Learn how to grow food in the city, get creative with native plants, and design greener corners within urban areas. The Gardens of Eden looks at fascinating examples around the world, teaching what you can do for nature while revealing what a garden can do for you.
Abbye Churchill was the editorial director of Wilder Quarterly, and her first book, A Wilder Life, was featured in The New York Times Book Review. Her writing has also appeared in The New York Times, Vogue, Food & Wine, and W. She lives in Brooklyn, New York City.
The plan was simple: he would embark on a journey through his life in food in pursuit of the meal to end all meals. It’s a quest that takes him from necking oysters on the Louisiana shoreline to forking away the finest French pastries in Tokyo, and from his earliest memories of snails in garlic butter, through multiple pig-based banquets, to the unforgettable final meal itself.
This question has long troubled Jay Rayner. As a man more obsessed with his lunch than is strictly necessary, the idea of a showpiece last supper is a tantalizing prospect. But wouldn’t knowledge of your imminent demise ruin your appetite? So, Jay decided to cheat death.
Jay Rayner’s Last Supper is both a hugely entertaining account of a life built around mealtimes and a fascinating global exploration of our relationship with what we eat. It is the story of one hungry man, in eight courses.
Excerpts from a New York Times article (Feb 28, 2020):
“Life begins at 55, the age at which I published my first book,” he wrote in “From Eros to Gaia,” one of the collections of his writings that appeared while he was a professor of physics at the Institute for Advanced Study — an august position for someone who finished school without a Ph.D. The lack of a doctorate was a badge of honor, he said. With his slew of honorary degrees and a fellowship in the Royal Society, people called him Dr. Dyson anyway.
Freeman J. Dyson, a mathematical prodigy who left his mark on subatomic physics before turning to messier subjects like Earth’s environmental future and the morality of war, died on Friday at a hospital near Princeton, N.J. He was 96.
As a young graduate student at Cornell University in 1949, Dr. Dyson wrote a landmark paper — worthy, some colleagues thought, of a Nobel Prize — that deepened the understanding of how light interacts with matter to produce the palpable world. The theory the paper advanced, called quantum electrodynamics, or QED, ranks among the great achievements of modern science.
Excerpts from a New York Times interview (Feb 24, 2020):
“All that time I was listening to the past, and now I’m almost talking for a living,” Mantel said, “and it feels very frivolous and empty compared to the stillness that there used to be in every day.”Credit…Ellie Smith for The New York Times
“Hilary has reset the historical patterns through the way in which she’s reimagined the man,” said Diarmaid MacCulloch, an Oxford theology professor who published a new Cromwell biography in 2018. “It’s fiction which is extraordinarily probable, and it’s remarkably like the Cromwell I’d been excavating myself.”
Hilary Mantel has a recurring anxiety dream that takes place in a library. She finds a book with some scrap of historical information she’s been seeking, but when she tries to read it, the words disintegrate before her eyes.
“And then when you wake up,” she said, “you’ve got the rhythm of a sentence in your head, but you don’t know what the sentence was.”
To an unusual degree for a novelist, Mantel feels bound by facts. That approach has made her latest project — a nearly 1,800-page trilogy about the 16th-century lawyer and fixer Thomas Cromwell — more complicated than anything she’s undertaken in her four decades of writing.
Stephen Shore’s images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today.
The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.
Stephen Shore
Stephen Shore is one of the most influential living photographers. His photographs from the 1970s, taken on road trips across America, established him as a pioneer in the use of color in art photography. He is director of the photography program at Bard College, New York.
Teju Cole is a novelist, photographer, critic, curator, and author. He is the Gore Vidal Professor of the Practice of Creative Writing at Harvard.
Paris, City of Dreams traces the transformation of the City of Light during Napoleon III’s Second Empire into the beloved city of today. Together, Napoleon III and his right-hand man, Georges Haussmann, completely rebuilt Paris in less than two decades—a breathtaking achievement made possible not only by the emperor’s vision and Haussmann’s determination but by the regime’s unrelenting authoritarianism, augmented by the booming economy that Napoleon fostered.
Acclaimed historian Mary McAuliffe vividly recaptures the Paris of Napoleon III, Claude Monet, and Victor Hugo as Georges Haussmann tore down and rebuilt Paris into the beautiful City of Light we know today.
McAuliffe follows the lives of artists such as Edouard Manet, Berthe Morisot, and Claude Monet, as well as writers such as Emile Zola, Gustave Flaubert, and the poet Charles Baudelaire, while from exile, Victor Hugo continued to fire literary broadsides at the emperor he detested.
McAuliffe brings to life a pivotal era encompassing not only the physical restructuring of Paris but also the innovative forms of banking and money-lending that financed industrialization as well as the city’s transformation. This in turn created new wealth and lavish excess, even while producing extreme poverty. More deeply, change was occurring in the way people looked at and understood the world around them, given the new ease of transportation and communication, the popularization of photography, and the emergence of what would soon be known as Impressionism in art and Naturalism and Realism in literature—artistic yearnings that would flower in the Belle Epoque.
Napoleon III, whose reign abruptly ended after he led France into a devastating war against Germany, has been forgotten. But the Paris that he created has endured, brought to vivid life through McAuliffe’s rich illustrations and evocative narrative.
Mary McAuliffe holds a PhD in history from the University of Maryland, has taught at several universities, and has lectured at the Smithsonian Institution, the Barnes Foundation, and the Frick Pittsburgh. She has traveled extensively in France, and for many years she was a regular contributor to Paris Notes. Her books include Clash of Crowns, Dawn of the Belle Epoque, Twilight of the Belle Epoque, When Paris Sizzled, and Paris on the Brink. She lives in New York City with her husband.
“After 96 years on this earth, Yona has moved up to build a Spatial City and install some Space Chains in the sky. The Fonds de Dotation Denise and Yona Friedman, which he founded last year, will continue his work.”
From an Instagram post (02/21/20)
Yona Friedman (5 June 1923 – 21 February 2020) was a Hungarian-born French architect, urban planner and designer. He was influential in the late 1950s and early 1960s, best known for his theory of mobile architecture.
In 1958, Yona Friedman published his first manifesto : “Mobile architecture”. It described a new kind of mobility not of the buildings, but for the inhabitants, who are given a new freedom.
Mobile architecture is the “dwelling decided on by the occupant” by way of “infrastructures that are neither determined nor determining”. Mobile architecture embodies an architecture available for a “mobile society”. To deal with it, the classical architect invented “the Average Man”. The projects of architects in the 1950s were undertaken, according to Friedman, to meet the needs of this make-believe entity, and not as an attempt to meet the needs of the actual members of this mobile society.
The teaching of architecture was largely responsible for the “classical” architect’s under-estimation of the role of the user. Furthermore, this teaching did not embrace any real theory of architecture. Friedman proposed then teaching manuals for the fundamentals of architecture for the general public.
The spatial city, which is a materialization of this theory, makes it possible for everyone to develop his or her own hypothesis. This is why, in the mobile city, buildings should :
touch the ground over a minimum area
be capable of being dismantled and moved
and be alterable as required by the individual occupant.
The Spatial City is the most significant application of “mobile architecture”. It is raised up on piles which contains inhabited volumes, fitted inside some of the “voids”, alternating with other unused volumes, making it look aesthetically pleasant. The basis of its design is that of trihedral elements which operate as “neighbourhoods” where dwellings are distributed without a price.
This structure introduces a kind of merger between countryside and city (compare to Paolo Soleri’s Arcology concept) and may span:
certain unavailable sites,
areas where building is not possible or permitted (expanses of water, marshland),
areas that have already been built upon (an existing city),
above farmland.
This spanning technique which includes container structures ushers in a new development in town-planning. Raised plans increase the original area of the city becoming three-dimensional. The tiering of the spatial city on several independent levels, one on top of the other, determines “spatial town-planning” both from the functional and from the aesthetic viewpoint. The lower level may be earmarked for public life and for premises designed for community services as well as pedestrian areas. The piles contain the vertical means of transport (lifts, staircases). The superposition of levels should make it possible to build a whole industrial city, or a residential or commercial city, on the same site. In this way, the Spatial City forms what Yona Friedman would call an “artificial topography”. This grid suspended in space outlines a new cartography of the terrain with the help of a continuous and indeterminate homogeneous network with a major positive outcome: this modular grid would authorize the limitless growth of the city.
The spaces in this grid are rectangular and habitable modular “voids”, with an average area of 25–35 square meters. Conversely, the form of the volumes included within the grid depends solely on the occupant, and their configuration set with a “Flatwriter” in the grid is completely free. Only one half of the spatial city would be occupied. The “fillings” which correspond to the dwellings only actually take up 50% of the three-dimensional lattice, permitting the light to spread freely in the spatial city. This introduction of elements on a three-dimensional grid with several levels on piles permits a changeable occupancy of the space by means of the convertibility of the forms and their adaptation to multiple uses.
In Yona Friedman’s own words “The city, as a mechanism, is thus nothing other than a labyrinth : a configuration of points of departure, and terminal points, separated by obstacles”.