A Plea for Eros
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이 책이 속한 분야
Yonder 1 My father once asked me if I knew where yonder was. I said I thought yonder was another word for there. He smiled and said, "No, yonder is between here and there." This little story has stayed with me for years as an example of linguistic magic: It identified a new space---a middle region that was neither here nor there---a place that simply didn't exist for me until it was given a name. During my father's brief explanation of the meaning of yonder, and every time I've thought of it since, a landscape appears in my mind: I am standing at the crest of a small hill looking down into an open valley where there is a single tree, and beyond it lies the horizon defined by a series of low mountains or hills. This dull but serviceable image returns when I think of yonder, one of those wonderful words I later discovered linguists call "shifters"---words distinct from others because they are animated by the speaker and move accordingly. In linguistic terms this means that you can never really find yourself yonder. Once you arrive at yonder tree, it becomes here and recedes forever into that imaginary horizon. Words that wobble attract me. The fact that here and there slide and slip depending on where I am is somehow poignant, revealing both the tenuous relation between words and things and the miraculous flexibility of language. The truth is that what fascinates me is not so much being in a place as not being there: how places live in the mind once you have left them, how they are imagined before you arrive, or how they are seemingly called out of nothing to illustrate a thought or story like my tree down yonder. These mental spaces map our inner lives more fully than any "real" map, delineating the borders of here and there that also shape what we see in the present. My private geography, like most people's, excludes huge portions of the world. I have my own version of the famous Saul Steinberg map of the United States that shows a towering Manhattan; a shrunken, nearly invisible Midwest, South, and West; and ends in a more prominent California featuring Los Angeles. There have been only three important places in my life: Northfield, Minnesota, where I was born and grew up with my parents and three younger sisters; Norway, birthplace of my mother and my father's grandparents; and New York City, where I have now lived for the past seventeen years. When I was a child, the map consisted of two regions only: Minnesota and Norway, my here and my there. And although each remained distinct from the other---Norway was far away across the ocean and Minnesota was immediate, visible, and articulated into the thousands of subdivisions that make up everyday geography---the two places intermingled in language. I spoke Norwegian before I spoke English. Literally my mother's tongue, Norwegian remains for me a language of childhood, of affection, of food, and of songs. I often feel its rhythms beneath my English thoughts and prose, and sometimes its vocabulary invades both. I spoke Norwegian first because my maternal grandmother came to stay in Northfield before I had my first birthday and lived with us for nine months; but after she returned home, I began learning English and forgot Norwegian. It came back to me when I traveled with my mother and sister to Norway in 1959. During those months in Norway, when I was four years old and my sister Liv was only two and a half, we forgot English. When we found ourselves back in Minnesota, we remembered English and promptly forgot Norwegian again. Although the language went dormant for us, it lived on in our house. My parents often spoke Norwegian to each other, and there were words Liv and I and Astrid and Ingrid used habitually and supposed were English words but were not. For example, the Norwegian words for bib, sausage, peeing,
From the author of the international bestseller What I Loved, a provocative collection of autobiographical and critical essays about writing and writers Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedts nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writers mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of othersFitzgerald, Dickens, and Henry Jameswith revelatory insight, and a practitioners understanding of their art.
From the author of the international bestseller What I Loved, a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art.
From the author of the international bestseller What I Loved,a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others - Fitzgerald, Dickens, and Henry James - with revelatory insight, and a practitioner's understanding of their art.
From the author of the international bestseller What I Loved,a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art.
From the author of the international bestseller What I Loved, a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art. Siri Hustvedt 's essays on art, Mysteries of the Rectangle, are available from Princeton University Press. She lives in Brooklyn, New York, with her husband, Paul Auster. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt''s nonfiction, like her fiction, defies easy categorization, combining intellect, emotion, wit, and passion. She undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer''s mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others'?itzgerald, Dickens, and Henry James'?ith revelatory insight, and a practitioner''s understanding of their art. "Writer and art critic Siri Hustvedt''s impressive third novel, What I Loved , established her as one of the most talented voices in contemporary fiction. Rich in passion and ideas, the novel brings to life characters of extraordinary depth and humanity and conjures up paintings and art installations so vividly that one can almost touch them. Hustvedt brings the same visual power, sensuality and intelligence to her collection of essays A Plea for Eros . Written over a decade (1995-2005), these lively personal and literary pieces cover a dizzying range of subjects'?utobiography, sexuality, wearing a corset, Sept. 11, the actor Franklin Pangborn, F. Scott Fitzgerald, Henry James and Dickens. What unifies and makes this collection so compelling is the way in which Hustvedt weaves evocative memories and stories with her intellectual meditations. In the book''s finest piece, ''Yonder,'' she lovingly re-creates the three places in her life: Minnesota, where she was born and rebelled against a culture of conformity; Norway, her mother''s and paternal grandparents'' native country, where she spent three happy years; and New York, which she embraced when she moved there in 1978 to go to graduate school at Columbia and where she now lives with her husband, the writer Paul Auster. Her recollections bloom into reflections on how places live in our minds or are imagined to illustrate a story, and on the nature of memory and the imagination. The imagination and fiction, she muses, are a kind of memory or ''remembering what never happened.'' Her observation that we use ''I see'' for ''I understand'' because we create pictures to understand the world also describes the theory behind her writing and what makes her prose so alive: She distills an idea from an image or illuminates her concepts with stories . . . Hustvedt is not afraid to express her deep love for her family or share her vulnerabilities. In the autobiographical ''Extracts from a Story of the Wounded Self,'' we learn that she was frail at birth, that she suffers from severe migraine headaches and that she carrie
Yonder A Plea for Eros Franklin Pangborn: An Apologia Eight Days in a Corset Being a Man Leaving Your Mother Living with Strangers 9/11, or One Year Later The Bostonians: Personal and Impersonal Words Charles Dickens and the Morbid Fragment Extracts from a Story of the Wounded Self
작가정보
저자(글) Hustvedt, Siri
목차
Yonder A Plea for Eros Franklin Pangborn: An Apologia Eight Days in a Corset Being a Man Leaving Your Mother Living with Strangers 9/11, or One Year Later The Bostonians: Personal and Impersonal Words Charles Dickens and the Morbid Fragment Extracts from a Story of the Wounded Self Table of Contents provided by Publisher. All Rights Reserved.
기본정보
ISBN | 9780312425531 ( 0312425538 ) |
---|---|
발행(출시)일자 | 2005년 12월 27일 |
쪽수 | 240쪽 |
크기 |
140 * 213
* 18
mm
/ 340 g
|
총권수 | 1권 |
언어 | 영어 |
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