By Colm Tóibín
Annotations to James Joyce’s ‘Ulysses’
by Sam Slote, Marc A. Mamigonian and John Turner.
Ulysses is haunted by the story of its own composition. As Joyce famously put it, ‘I’ve put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that’s the only way of ensuring one’s immortality.’ The annotators point out, however, that it is ‘very likely that Joyce never said this’.
‘A novelist is condemned to produce a succession of novelties, new names for characters, new incidents for his plots, new scenery,’ reflects the beleaguered hero of The Ordeal of Gilbert Pinfold, Evelyn Waugh’s portrait of the artist as a middle-aged car crash.
In 1958, a Cambridge don called Frederick J. Stopp produced a study of Waugh – uniquely, Waugh himself gave ‘generous assistance’ – which warmly endorsed the idea that he had basically ‘two books in his armoury’, the first featuring the ‘contrast between sanity and insanity’ and the second ‘sanity venturing out into the surrounding sphere of insanity, and defeating it at its own game’.
Whether this particular dualism had Waugh’s approval is unclear, but either way it doesn’t seem entirely satisfactory since the two alternatives look like variants of the same thing. Less well-disposed readers have thought that Waugh’s books divided on much more rudimentary lines: the good ones, which are funny, and the bad ones, which are pious.
There is the string of brilliant, brittle social comedies in the 1930s, and then there is whatever started happening with the publication in 1945 of Brideshead Revisited. Stopp reported, presumably with his master’s sanction, that ‘Mr Waugh’s reputation among the critics has hardly yet recovered from the blow.’ Brigid Brophy had the best joke: ‘In literary calendars, 1945 is marked as the year Waugh ended.’
James Lasdun
John Burnside
Florence Sutcliffe-Braithwaite
Deborah Friedell
James Butler
Noël Coward’s Third Act; Fassbinder and His Friends; Marx’s Literary Style by Ludovico Silva, and more…
Marx’s Literary Style
by Ludovico Silva, translated by Paco Brito Núñez.
Working on Capital in the British Museum, plagued by creditors and carbuncles, Karl Marx complained not only that nobody had ever written so much about money and had so little of it, but that ‘this economic crap’ was keeping him from writing his big book on Balzac. His work is studded with allusions to Homer, Sophocles, Rabelais, Shakespeare, Cervantes, Goethe and scores of other authors, though he was less enthralled by ‘Elizabeth’s arse-kissing poet’ Edmund Spenser, an advocate of state terror in Ireland.
Most of us would find it horrible to be told that we aren’t worth engaging with, that our views are socially unacceptable or merely a function of demography. But that it is painful to be on the receiving end of such remarks doesn’t mean that one’s own rights to ‘free speech’ are thereby imperilled; it might simply be a reminder that speech can wound.
By John Lahr
Hollywood: The Oral History
edited by Jeanine Basinger and Sam Wasson.
In April 1973, on a Pan Am 747 jumbo jet from London to LA, I took my seat in the upstairs dining room opposite a Cincinnati salesman and his wife. He sold screws – really. Just as improbably, I had sold my first novel to the movies. The tablecloth, the silverware, the crystal wine glasses, the Chateaubriand being carved in front of us at five hundred miles an hour felt extraordinary, a swank unreality that matched my elevated mood. I was 32. I was going to Hollywood. I was making a movie. I was going to be a screenwriter.
The British and American right differ in the weight they place on ideological purity. With a limited cast of characters – and an even smaller pool of funders – British conservatives can ill afford to divide their world into neoliberals and traditionalists. At NatCon London, the tirades about woke universities and pronouns often obscured political differences, but they can’t conceal them completely.
In London, I had taken A Young Woman Standing at a Virginal for a dependable rest point on strolls around the National Gallery. In Amsterdam, relocated to join 27 other Vermeers in the Rijksmuseum exhibition, its strangeness re-emerged. This canvas, executed towards the end of Vermeer’s relatively brief career (some four years, perhaps, before he died aged 43 in 1675), commits to a tactic he had earlier only toyed with: to set an internal picture as a wholly self-contained block within his own composition, uninterrupted by foreground forms.
Pensions – and ‘the fiscal impact of ageing’ – have long troubled the EU. A European Commission paper published in 2016 noted with relief that ‘most EU member states’ were reforming their pension systems. France is one of them. During his first term in office Emmanuel Macron envisaged an ambitious reform plan, but Covid-19 put paid to it. Re-elected in 2022, he put a different plan on the table; at its core is an increase in the retirement age from 62 to 64. It has been predictably unpopular. Pensions rank high on the list of French state expenditures. They are one of the cornerstones in France’s edifice of public provision, which is why the sound of drilling and hammering sets most citizens’ teeth on edge.
Iconicon: A Journey Around the Landmark Buildings of Contemporary Britain
Its appeal is part of the recurrent cycle of the centripetal giving way to the lure of the burbs. Save that, in this instance, it’s not the lure that accounts for an invasion of beards and craft beer but the unaffordability of housing in East London. Let’s go to Croydon! For want of anywhere else.
Which archival sources are used and whose voices are silenced? The Marcoses have – for now – claimed the archive and seized the narrative. They tell the story of a golden age followed by a fall and a quest for redemption. In the Philippines, a deeply Catholic country, the story has a satisfying narrative arc.
A Nation of Descendants: Politics and the Practice of Genealogy in US History by Francesca Morgan.
In A Nation of Descendants: Politics and the Practice of Genealogy in U.S. History (University of North Carolina Press, 2021), historian Francesca Morgan tracks Americans’ obsession with tracing family ancestry. Morgan sheds light on the evolution of genealogical knowledge from the early republic to the present day. Although our New Books Network conversation concentrates on African Americans, in her text, she looks explicitly at how Anglo-American white, Mormon, Jewish, African American, and Native American people wrestled with locating and documenting their kin and ultimately shaped the practice of genealogy. A Nation of Descendants also explores the transformation of genealogical practices as it becomes commercialized and commodified.
Pirate Enlightenment, or the Real Libertalia by David Graeber
Pirates have long lived in the realm of romance and fantasy, symbolizing risk, lawlessness, and radical visions of freedom. But at the root of this mythology is a rich history of pirate societies―vibrant, imaginative experiments in self-governance and alternative social formations at the edges of the European empire.
Boomers Daily 