By VYVYAN HOLLAND [Harper's Bazaar via Anthony Howell Journal] — What is the urge that makes anyone want to write? Is it divine inspiration? Is it the desire for self-expression? I often feel it is merely a hankering after immortality. And yet a well-known author once confessed to me that the reason he wrote was because he admired his own handwriting so much that the mere tracing of the letters gave him a feeling of creation. It is a curious fact that authors have either extremely good or extremely bad handwriting. The worst hand-writing I ever came across was that of the late Professor George Saintsbury, who wrote so many good books on both English and French literature and, incidentally, one of the best books on wine ever written, in his Notes from a Cellar Book. His hand-writing was so bad that no-one could read it, and he was eventually persuaded to buy an old typewriter and to learn how to use it. However, this did not really improve matters very much, because in the course of its vicissitudes the typewriter had lost its letter “E.” Nothing daunted, the Professor put an “x” wherever an “e” was needed, so that a word like “exceeding” started “xxcxx.” Continue reading “How to start a book: write the ending first.” »
The 2013 graduate prize: Andrew Lallier on Trollope, lawyers and diamonds.
Three poems by Osip Mandelstam in new translations by Alistair Noon. | Travel beyond the Grand Tour by Anthony Howell | Iain Britton: Poems from ‘special effects’. | Becka Mara McKay: Happiness Is the New Bedtime. | Peter Riley on Robert Duncan and the Occult | Three poems by Alain-Fournier in new translations by Anthony Costello and Anita Marsh. | Daniel Bosch: Imaginatio lego sum. | James Smetham calls on the Ruskins by Mark Jones | New fiction by Conor Robin Madigan. | Harry Guest on Anthony Rudolf’s literary Wunderkammer | Alan Wall on William Blake: Lux, lumen and the lights of science. | Peter Riley on the poetry of the second person. | Anthony Howell’s year-end bedside reading table. | Merritt Moseley on the daily routines of writers. | Modern Italian poetry by Giardinazzo and Genovesi, in translations by Hoyt Rogers | Alex Houen: Two new poems: ‘Eucalypso Redux’ and ‘Battleships/Romance’. | Alana Shilling: Letting down the élites (Theatre in New York). | Frank Jewett Mather: The inside of the open mind. |
THE ROYAL INSTITUTE OF PHILOSOPHY
Co-sponsor (with Social Science in the City, the British Society for Phenomenology, and the Czech Centre London): ‘Europe, the Very Idea: Exploring Europe as a Philosophical Idea’. 9-10 May 2014 at the Watershed, Bristol. Conference attendance only – FREE to non-working and students. Details here.
. Gerrie Fellows and Alice Miller: Tuesday 15 April, 7:30pm. Swedenborg Hall, 20/21 Bloomsbury Way, London WC1.
· Ágnes Lehóczky: Thursday 24 April, 7pm. Hungarian Cultural Centre, 10 Maiden Lane, London WC2.
More Shearsman events details here.
2011: Golden-beak in eight parts. By George Basset (H. R. Haxton).
2012: The Invention of the Modern World in 18 parts. By Alan Macfarlane.
2013: Helen in three long parts. By Oswald Valentine Sickert.
Chronicle & Notices
Notes & Comment
The Wellcome Collection: Henry Wellcome’s memento mori. | Sainsbury Centre for Visual Arts: Box-fresh in Norwich. | Scottish National Museum: Dolly the sheep in Francis Fowke’s beast. | Writers Museum, Dublin: tat and ephemera.
Poetry of the second person: Robinson and Welch. | Martin Harrison’s pastoral poetry. | Narrative Poetry | Summer’s end 2013: Brief notices. | Poems with zip! | New York poets. | The youth tactic. | Edward Dorn – a two-part review. | What’s happened to ‘working-class’ poetry? | The ‘infinitely expandable’ minimalism of Anthony Barnett. | The prosaic declarations of ‘world poetry’. | Books received: Summer 2012. | Alistair Noon and the English Sonnet. | Peter Hughes and Oystercatcher Press. | Poetry Prize Culture and the Aberdeen Angus. | Denise Riley and the force of bereavement. | Poetry beyond the cults and enclaves.
Four new poems by John Welch. | Peter Hughes: Quite Frankly, a sequence. | Peter Robinson: A portfolio of six new poems. | Alex Houen: Two new poems: ‘Eucalypso Redux’ and ‘Battleships/Romance’. |
Alan Wall: William Blake. | Therianthropes and vents. | Constellations. | Pattern recognition and the periodic table. | Extremities of perception in an age of lenses. | Demotic ritual. | Science and disenchantment. | The self-subversion of the book. | Newton’s prisms. | The Janus face of Metaphor. | Clues and labyrinths. | Ruin, the collector and sad mortality.
Keith Johnson: Deganello’s ‘Torso’ sofa. | Kuramata’s ‘Miss Blanche’ chair. | A silver fruit bowl by Ettore Sottsass. | Pistoletto’s wall lamp. | Franz West’s austere chain lamp | Joseph Kosuth’s dream of Freud’s couch. | Lawrence Weiner’s mythic waste basket. | …and his desk and bench with a message.
In the New Series
- The Current Principal Articles.
- Copyright, print archive & contact information.
- Editorial statement, submission guidelines, and proposing new Notices.
- Mrs Courtney’s history of The Fortnightly Review.
- Support for the World Oral Literature Project.
- The Fortnightly Review’s email list.
- The Function of Criticism at the Present Time.
- The Initial Prospectus of The Fortnightly Review.
- The Invention of the Modern World: The Spring-Summer 2012 Serial.
- The Trollope Prize.
- The Editors and Contributors.
- An Explanation of the New Series.
- Subscriptions & Commerce.
By Roger Berkowitz, Juliet du Boulay, Denis Boyles, Stan Carey, H.R. Haxton, Allen M. Hornblum, Alan Macfarlane, Anthony O’Hear, Andrew Sinclair, Harry Stein, Eugène-Melchior de Vogüé, and many others. Free access.
· James Thomson [B.V.]
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