fiction

[Leo Tolstoy.]

Tolstoy’s paragraphs of the week

December 19, 2013 | 9 Comments

You have to wonder about when, in his writing process, Tolstoy came up with Anna Karenina’s killer first line—”All happy families are alike; each unhappy family is unhappy in its own way”—seemingly one of the truest and certainly one of the most famous in all of literature. Did it always launch his 800-page novel, published when Tolstoy was 49, or did it arise during composition and end up placed there? (Scholars?) In any case, does it not refute the maddening “kill your darlings” commandment? It adds an expository moralizing signpost atop a great paragraph that could open the book. There’s every nasty neat reason to cut it—and one not to, bound up in the category called genius.

I’m struck too by how Tolstoy starts in long-distance mode, referring in the second paragraph to “the wife” and “the husband,” but in the third paragraph he’s moving the camera closer; soon we’re right up in their nostrils. I’ve always loved Tolstoy’s simple but elegant sentences, on full display here.

But of course I’m reading him in translation, in the new edition edited by the hottest Russian-literature translating team, Richard Pevear and Larissa Volokhonsky. If you poke around on the web and read Amazon reviews, you’ll see even these lauded midwives dissed—someone swearing an older translation is better. Basically I picked Pevear and Volokhonsky based on Anna Karenina’s opening line: I liked their version’s phrasing and punctuation, as well as the opening sentence of the second paragraph; you can read several using Amazon’s “Look Inside” feature. I might have read the Constance Garnett version with an opening line almost identical—“Happy families are all alike; every unhappy family is unhappy in its own way”—though Garnett’s second sentence, truer to Tolstoy for all I know, feels slightly less felicitous: “Everything was in confusion in the Oblonskys’ house.”

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The iconic first cover

Newest film rocks ‘Gatsby’

November 20, 2013 | 8 Comments

“On Sunday morning while church bells rang in the villages alongshore, the world and its mistress returned to Gatsby’s house and twinkled hilariously on his lawn.”—the opening to Chapter Four of The Great Gatsby

As famous as are The Great Gatsby’s gorgeous opening and ending passages, the above line shows as well as anything the1925 novel’s elusive poetic magic. Gardens are blue, cocktail music is yellow, and trays of silver drinks float in the dusk. In prose at once specific and grandly metaphoric, The Great Gatsby unspools a plot utterly American in its larceny and its romance: the story of a rags-to-riches-shady-but-essentially-good-social-climbing outlaw whose self-invention and male yearning end in murder.

Since I’ve loved Gatsby for much of my life, I resisted seeing until recently the latest movie based upon it. I doubted whether Leonardo DiCaprio could get off Gatsby’s “old sport” tic without sounding ridiculous. “Old sport” was the nail in the coffin of Robert Redford’s inert performance in the 1974 film flop.

Now comes Baz Luhrmann with Leo as leading man. The Aussie’s effort, Hip-Hop infused and with splashy 3-D option, is “pretty much a disaster,” rules David Denby of the New Yorker. “Gatsby’s big parties are a seething mass of flesh, feathers, dropped waists, cloche hats, swinging pearls, flying tuxedos, fireworks, and breaking glass,” Denby writes. “Luhrmann’s vulgarity is designed to win over the young audience, and it suggests that he’s less a filmmaker than a music-video director with endless resources and a stunning absence of taste.”

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Echoing a familial refrain

June 28, 2013 | 5 Comments

Khaled Hosseini’s third novel strikes universal chords. And the Mountains Echoed by Khaled Hosseini Riverhead Books  (Penguin Group ); 404 pp., $28.95 hardback. Also available in paperback (Bloomsbury Publishing), Kindle, Nook, Audible, audiobook CD, SoundCloud, iTunes, and large-print (Thorndike Press) editions. Guest Review by Lanie Tankard “…and the place echoed every word, and when he said ‘Goodbye!’ Echo also said ‘Goodbye!’”  —Ovid, Metamorphoses, Book III (Trans. by A.S. Kline) Khaled Hosseini took a risk in his third novel. He tried a …

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Fiona Maazel on loneliness

May 23, 2013 | 6 Comments

A novel approach to the absurdities of mass desolation.   Woke Up Lonely by Fiona Maazel Graywolf Press, 336 pp., $26.00. Guest Review by Lanie Tankard We are lonesome animals. We spend all life trying to be less lonesome. One of our ancient methods is to tell a story . . . —John Steinbeck, to the Paris Review A Google search for the term lonely can yield 287,000,000 results in less than twenty seconds. A Facebook Community called “Loneliness” has …

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Lee Martin: artists must risk failure

April 10, 2013 | 16 Comments

Celebrated novelist & memoirist discusses how he became an artist. In the beginner’s mind there are many possibilities; in the expert’s mind there are few. . . . This is also the real secret of the arts: always be a beginner. Be very very careful about this point.— Suzuki Roshi, Zen Mind, Beginner’s Mind I’m trying to learn from Lee Martin whenever and however I can, as a writer and teacher. I haven’t yet made it to his celebrated fiction—one of …

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New essay era, 17 classics by women

February 21, 2013 | 6 Comments

  Bonus: Jake Adam York offers a fine minute of writing advice. We’re living in the golden age of essays, proclaims a February 18 essay by Adam Kirsch in  New Republic. In “The New Essayists, or the Decline of a Form? The Essay as Reality Television,” Kirsch immediately invokes as an example John Jeremiah Sullivan’s Pulphead, which in another day, with its roots in magazine pieces and celebrity profiles, might have been labeled journalism—but which, as an exciting hybrid of …

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Time to call ‘In Cold Blood’ fiction?

February 10, 2013 | 20 Comments

Why Truman Capote’s slippery masterwork keeps making news. Everyone acknowledges that true stories can never be fully known—too many details lack corroboration, too many witnesses disagree about what really happened.—Jane Smiley, Thirteen Ways of Looking at the Novel Reading the excellent new writing book Good Prose: The Art of Nonfiction, by Tracy Kidder and Richard Todd, I was a tad surprised to see Truman Capote’s In Cold Blood extolled on page five for its magisterial opening. Capote’s start is gorgeous, with …

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