In Sons and Lovers (1913), D. H. Lawrence directs many glances at the Derbyshire landscape, often through his characters’ distinctive visions. Here is one, this time through Paul Morel: He was brooding now, staring out over the country from under sullen brows. The little, interesting diversity of shapes had vanished from the scene; all thatContinue reading “Paul Morel and Travis Bickle: The World-Dissolving Melancholic Gaze”
Tag Archives: novels
V. S. Naipaul on Diversion and Inspiration
In “The Author’s Note”, a preface of sorts to The Return of Eva Peron with The Killings in Trinidad (Alfred A. Knopf, New York, 1980), V. S. Naipaul writes, These pieces…were written between 1972 and 1975. They bridged a creative gap: from the end of 1970 to the end of 1973 no novel offered itself toContinue reading “V. S. Naipaul on Diversion and Inspiration”
Freedom in the Absence of Social Convention
In reviewing Arturo Fontaine‘s La Vida Doble, “a harrowing examination of violence during the Pinochet period,” whose heroine is Lorena, “a female terrorist who is tortured, changes sides, and becomes a torturer herself”, David Gallagher writes: But why in fact do good fathers and meek husbands and generous lovers undertake such cruel torture? Here Lorena seesContinue reading “Freedom in the Absence of Social Convention”
Ian McEwan’s ‘Atonement’ and Post-Apocalyptic Literature
There comes a moment, as the reader moves through Part Two of Ian McEwan‘s Atonement, of sensing something familiar and recognizable, a deja-vu of sorts, in the sparse yet rich, brutal, unsparing descriptions of physical and moral catastrophe on the long, hot, bloodstained road of retreat to Dunkirk. They are all here: the dead–animal andContinue reading “Ian McEwan’s ‘Atonement’ and Post-Apocalyptic Literature”
Philip Roth and Writing for One’s ‘Community’
In reviewing Claudia Roth Pierpont‘s Roth Unbound: A Writer and his Books, Adam Mars-Jones writes: Letting Go…hadn’t yet been published when Roth was given a hostile reception at a symposium organised by Yeshiva University….The topic was ‘The Crisis of Conscience in Minority Writers of Fiction’, and the idea seemed to be, if he didn’t alreadyContinue reading “Philip Roth and Writing for One’s ‘Community’”
History as Chronicle of the Inevitable
From Philip Roth’s The Plot Against America: [A]s Lindbergh’s election couldn’t have made clearer to me, the unfolding of the unforeseen was everything. Turned wrong way round, the relentless unforeseen was what we schoolchildren studied as “History,” harmless history, where everything unexpected in its own time is chronicled on the page as inevitable. The terrorContinue reading “History as Chronicle of the Inevitable”
Can An Adult Read a Book Like a Child?
In ‘The Lost Childhood’ (from The Lost Childhood and Other Essays, Viking Press, New York, 1951), Graham Greene writes: Perhaps it is only in childhood that books have any deep influence on our lives. In later life we admire, we are entertained, we may modify some views we already hold, but we are more likely toContinue reading “Can An Adult Read a Book Like a Child?”
Writing, the Beating of Metal, and Self-Transformation
I have been greedily raiding Divisadero‘s stores for little gems to excerpt here. But with writing that lovely and illuminating, there is little cause for shame. So once again: Sometimes truth is too buried for adults, it can be found only in hours of rewritings during the night, the way metal is beaten into fineness.Continue reading “Writing, the Beating of Metal, and Self-Transformation”
An “Orphan’s Sense of History”
Today I plunder Divisadero again, for a personal note: Those who have an orphan’s sense of history love history. And my voice has become that of an orphan. Perhaps it was the unknown life of my mother, her barely drawn portrait, that made me an archivist, a historian. Because if you do not plunder theContinue reading “An “Orphan’s Sense of History””
Michael Ondaatje, Divisadero and the ‘Hidden Presence of Others’
Michael Ondaatje‘s Divisadero is a wise book, elliptical and allusive in his distinctive style, one replaying close, attentive reading to its many lovely, lyrical lines, too many to excerpt and note. Here is one that hones in on a truth already known to those who create: Everything is biographical…What we make, why it is made,Continue reading “Michael Ondaatje, Divisadero and the ‘Hidden Presence of Others’”
Samir Chopra 