Thursday, November 12, 2009

best of 2010

haven't had a chance to check these out, but just to put it out there,
  • PW's Ten Best Lists of 2009

  • apparently, there's outrage that the ten best nonfiction list includes works by male authors only. but, there are women novelists and poets included. so, really, i could care less.

    Wednesday, November 04, 2009

    celeb spotting

    Every city has its celebrities. In Washington D.C., the local magazine in our hotel room had advice for those looking to spot the Obamas, featuring restaurants and other locations popular with the president and his family. In L.A., my friends tell me everyone is an actor. Here in New York I ran into Philip Roth while walking on Manhattan's Upper West Side yesterday afternoon. At first, I thought I recognized the frail, old man approaching, but couldn't quite place him. Then I did, said hello sheepishly (to which he responded, gracefully enough, with a nod), and walked right past him. I recognized him only because I'd recently watched li>this video, in which Tina Brown talks to Roth about his newest novel, The Humbling. The novel tells of an aging actor who has lost his gift for the stage and finds comfort, temporarily, in a passionate and complex love affair with a lesbian woman several decades his junior. Having read a review copy of the book, I'd say it reminds me a lot of Everyman. Together, the two novels may represent the latest Roth genre--one that focuses on aging, particularly male aging, and the characters' tragic attempts to hold onto their youth. Invariably, the old men in Roth's novels pine after impossibly beautiful and indecently young women who are, by and large, far beyond their reach.
    As I brushed past Roth yesterday I noticed his slightly stooped gait. My smile was an acknowledgment of his stature as a literary star (if not exactly my personal literary hero). But what did he think of me (assuming he noticed me in the first place), a woman in my late 20s, smiling at him with that star-struck look that must be flattering to anyone--man or woman, young or old--but perhaps especially so when a young woman bears the smile and the object of her smile is an old man?

    Thursday, October 08, 2009

    between Writers and Editors

    It's been two years.

    And here in my Washington Heights apartment I am a freelance writer, editor, researcher, translator, taking classes with the Times' Sam Tannenhaus and Dorothy Wickenden of The New Yorker as a fellow at the Writer's Institute @ the CUNY Grad Center. But i'm also looking for a full-time job in publishing. Ideally, of course, at FSG or Knopf, where I'd get to read manuscripts by the likes of Andrew Sean Greer and Andre Aciman, maybe even edit them, and hope to spot out the next big literary lights in the piles of unsolicited manuscript submissions sitting on an all-important and very busy editor's desk.

    Is this a mistake, I wonder, weeks, even months, after emailing resumes and cover letters to what seems like everyone out there--oxford, harper, simon&schuster, random house (and its ridiculous number of divisions and imprints), penguin, little brown, cambridge, and macmillan (which owns the much coveted FSG)--do I really want to be typing up rejection letters, reading other people's good, even excellent manuscripts, slaving away as an editor on someone else's work of genius, while my own creative imagination begins to dissipate, slow but so steady, as semicolons and red ink become my area of expertise while the characters I invented long ago but had no courage to put to paper, start to drift further and further away from me, until i can no longer relate to these figaments of my own mind.

    What is it that differentiates us critics and editors from the writers we write about and whose work we polish and fine-tune. Is it possible to somehow bridge the divide and be both a great editor and an extraordinary writer? Or must one choose between the two?

    Wednesday, August 22, 2007

    Summer2007

    back at it again. after an eventful summer spent soaking up the sun, reading more than i ever though myself capable of (granted only for the first few weeks ofsummer) and definitely visiting more music--mostly jazz--venues than i ever thought i could handle, let alone enjoy. but i enjoyed every minute of it, and in the end my despair at not finding a job came to a head when i found 2--almost 3, over the course of 3 days, and had to choose the one that i'm in right now. it's a publishing assistant position which means i assist all departments--from editorial to publicity and sales--although i think my focus is editorial, but i suppose ill find that out soon enough. so far, so good. our company is based in munich, germany (maybe they'll fly me out there sometime? i'm not asking yet. . .) so the office here is small, real small. but people are great and overall i think it'll be great. . . so in order to get the hang of things i'm reading some of the books we've published. . oh, did i mention we're an arts publisher, which means we publish books on art, architecture, photography, design. . . . check us out: www.prestel.com. . . so i'm in the middle of After the Revolution: How Women Changed Contemporary Art--interesting book that covers about ten female artists who came of age (as artists,that is) after the feminist revolution. . . . so far definitely interesting, if sometimes disturbing. Abramovic is one artist whose name is stuck in my mind, does some really disturbing stuff . . .
    But enough of work. I just finished reading Murakami's Kafka on the Shore, my first Murakami book (and probably my last). it was good, in the end, just not the sort of book I'd devote that much time to, again. . . i guess i'm not particularly partial to all the gimmicks that he pulls with this fantastical story, i guess it has its place in world literature but it seems to me messages are more effectively communicated through the real rather than the unreal, but who am i to say. . .I also read the nobel-laureate Coetzee for the first time this summer (Disgrace is the book), and very much enjoyed. Stays grounded in the world of real people with real issues and he does a brilliant job of capturing and conveying intense moments of human emotion . . . loneliness, in particular. If I remember right (it's been some time, now) the book is about a South African professor who sleeps with his underage freshman student, and a scandal ensues that forces him to confront his inner demons and also the real issues in his life--his relationship (or lack of any) with his daughter and the people that surround him.
    will get to some of the other books in my next postings.
    as for music, i think i've gone a bit over the top with the jewish avant-garde stuff. somehow, it turns out i prefer traditional jazz, or maybe it's just that i appreciate real mastery of music--something one finds more with the likes of David Amram, for example, than with the avant garde. So yeah, I really enjoyed Amram--sublime. And, I enjoy these Israeli jazz musicians who seem to be dominating (well that's probably an exaggeration, whatever) the jazz scene in New York City. Omer Klein, who I'm seeing tomorrow at Small's, and who I've seen there before, is really top notch. So is Avishai Cohen and his sister and that whole crew. . .Of course Brubeck was incredible (and out of doors at Lincoln Center!). . . and though I only came towards the end, Andy Statman (also Lincoln Center out of doors--and in the rain, to boot!) was incredible. . .
    Surprisingly enough I saw very few movies. Funny because I do love film. . . but I think it's good, summer is no time to spend indoors at the movies, would much prefer to leave that for winter. I did see Two Days in Paris, which was nice though not at all memorable. I also saw Ratatouille, which was highly amusing.
    And that, my friends, is some of how I spent my summer. Who knows, perhaps I am talking to myself. Not so terrible, if so, I guess.
    To be continued.

    Monday, June 25, 2007

    to take up later. . .

    not a whole lot of time right now. . . so i'll just jot down some of the subject i'll take up in later posts

    recent reads: tomas bernhard's the loser and andre aciman's call me by your name

    before that i read another excellent book: andre gide's strait is the gate

    currently reading or attempting to read yakov shabetai's past continuos or zichron dvarim in hebrew--his most important work.

    also considering reading chaim gravitser in hebrew and yiddish. we'll see how that goes.

    oh and finally returning to beckett's trilogy for the unnameable, which i have not yet read and which i was putting off reading because. . .well because i wasn't emotionally prepared to get back into that stuff, until now i think.

    been listening to lots of great live jazz. . . visions festival, jazz lounge, klezmer interpretations of jazz (or somesuch) . . . in general loving the life and not sure how i'll readjust once employed. . .



    Wednesday, June 13, 2007

    Paul Celan

    So I've grown really bored of this blog. Need to find ways to keep it interesting--for me, anyway.

    From now I'll be writing strictly about real things. As in, not my life or personal reflections, since that sort of thing is really so unknowable and so. . . well so easily given to change. . . I'd rather focus on something slightly more concrete. Like the written word, a film, an image, maybe even another human being. . . always more compelling than self-absorption. Yes, that's what this is: my battle against self-absoprtion as I while away the hours seeking a job, alternately loving and hating my life and trying not to fret to much about what's to come, since what'll will be will be and what's the use of crying anyway.

    So just to put some thoughts--about concrete things--out there.

    I recently finished reading a biography of Paul Celan called Paul Celan: Poet, Survivor, Jew--by John Felstiner, a Stanford professor. Probably the most compelling biography I've read (then again I haven't read very many biographies, the only other one that comes close is Stacy Schiff's Vera, a brilliant account of the (Jewish) wife and to some degree inspiration of the novelist Vladmir Nabokov). In addition to his sensitive approach to his subject that is illuminating but never overbearing, Felstiner's translation and interpretation of the poet's work is really excellent. So much so that I couldn't resist contacting Felstiner, who was extremely generous and kind in his responses to me. Anyway, clearly I like Felstiner and, if I were a tad bit academically oriented I'd follow him to Stanford to sit in on all his classes. Alas, I lack the motivation.
    But here are two of my favorite poems. . though there are more, to be sure, culled form Felstiner's translations:

    I HEAR, THE AXE HAS BLOOMED,
    I hear, the place is not nameable. . .
    I hear, they call life
    the only refuge.

    Felstiner skips two or three lines of the original here. Still, I think it's such a potent poem. It moved me so.

    And the other, which was particularly interesting with Felstiner's interpretation:

    Aschrei,
    a word without meaning,
    transtibetan,
    squirted into
    the Jewess
    Pallas
    Athena's
    helmeted ovaries.

    Aschrei, as Felstiner writes, has several meanings here. . . the hebrew--happy, blessed (praised?); the yiddish -- a schrei: a scream; and the german--Heil
    wow.

    Wednesday, May 02, 2007

    endofyear

    school's out and i'm out and about and searching for a way to keep busy and earn my bread at the same time--now that the encyclopedia is practically done.
    recently published in the current, www.columbia.edu/cu/current/articles/spring2007/national-identity.html
    and an upcoming review at new voices on the forward's new book, a living lens.
    and looking for more writing gigs now that i have some time . . .