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Nights At The Circus by Angela Carter. New York. 1985. Viking Press. hardcover. 295 pages. February 1985. Jacket illustration & design by Vincent X. Kirsch. Winner James Tait Black Memorial Prize. 0670803758.

 

 

nights at the circusFROM THE PUBLISHER -

   Sophi Fevvers—the toast of Europe’s capitals, courted by the Prince of Wales, painted by Toulouse-Lautrec—is an aerialiste extraordinaire, star of Colonel Kearney’s circus. She is also part woman, part swan. Jack Walser, an American journalist, is on a quest to discover Fevvers’s true identity: Is she part swan or all fake? Dazzled by his love for Fevvers, and desperate for the scoop of a lifetime, Walser joins the circus on its tour. The journey takes him - and the reader - on an intoxicating trip through turn-of-the-century London, St. Petersburg, and Siberia - a tour so magical that only Angela Carter could have created it.

 

 

Carter AngelaAngela Carter (7 May 1940 – 16 February 1992) was an English novelist and journalist, known for her feminist, magical realism, picaresque and science fiction works. In 2008, The Times ranked Carter tenth, in their list of ‘The 50 greatest British writers since 1945’ Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature. She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in NOTHING SACRED (1982) that she ‘learnt what it is to be a woman and became radicalised.’ She wrote about her experiences there in articles for New Society and a collection of short stories, FIREWORKS: NINE PROFANE PIECES (1974), and evidence of her experiences in Japan can also be seen in THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN (1972). She then explored the United States, Asia and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son. As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in SHAKING A LEG. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and THE MAGIC TOYSHOP (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Woolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003). Her novel NIGHTS AT THE CIRCUS won the 1984 James Tait Black Memorial Prize for literature. At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives. Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer.

 

 

 

 

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Wayward Girls & Wicked Women: An Anthology Of Subversive Stories by Angela Carter (editor). New York. 1989. Penguin Books. paperback. 339 pages. Cover design by Melissa Jacoby. Paperback Original. 0140103716.

 

 

0140103716FROM THE PUBLISHER -

 

   Here are subversive tales - by Ama Ata Aidoo, Djuna Barnes, Jane Bowles, Angela Carter, Colette, Bessie Head, Jamaica Kincaid and Katherine Mansfield among others - all with one thing in common: the wish to restore adventuresses and revolutionaries to their rightful position as role models for all women. Elizabeth Jolley celebrates that rare phenomenon, the female confidence trickster and in Leonora Carrington’s beautifully surreal tale, a hyena is persuaded by a debutante to take her place at the ball - and go dressed to kill. Reflecting the wide-ranging intelligence and deliciously anarchic taste of Angela Carter, some of these stories celebrate toughness and resilience, some of them low cunning: all of them are about not being nice.

 

 

 

 

 

 

 

Carter Angela Angela Carter (7 May 1940 – 16 February 1992) was an English novelist and journalist, known for her feminist, magical realism, picaresque and science fiction works. In 2008, The Times ranked Carter tenth, in their list of ‘The 50 greatest British writers since 1945’ Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature. She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in NOTHING SACRED (1982) that she ‘learnt what it is to be a woman and became radicalised.’ She wrote about her experiences there in articles for New Society and a collection of short stories, FIREWORKS: NINE PROFANE PIECES (1974), and evidence of her experiences in Japan can also be seen in THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN (1972). She then explored the United States, Asia and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son. As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in SHAKING A LEG. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and THE MAGIC TOYSHOP (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Woolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003). Her novel NIGHTS AT THE CIRCUS won the 1984 James Tait Black Memorial Prize for literature. At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives. Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer.

 

 

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The Watcher And Other Stories by Italo Calvino. New York. 1971. Harcourt Brace Jovanovich. hardcover. 181 pages. Jacket design by Anita Walker Scott. Translated from the Italian by William Weaver & Others. 0151948801.

 

 

0151948801FROM THE PUBLISHER -

 

 

   Italo Calvino, the scintillating author of COSMICOMICS and T ZERO, shows his astonishing range in these three long stories. In ‘The Watcher,’ fact predominates over fantasy. The setting is Cottolengo, a city within the city of Turin, where, hidden from sight, the rejects of the human race — cripples, idiots, monsters — are cared for by the Church in a self-contained world of their own. Here, on Election Day, Amerigo Ormeo, member of a left-wing party, penetrates into the enemy stronghold to see that no election fraud is committed. Two concepts of man confront each other, movingly, revealingly, and not without a subtle ambiguity. In the other stories fantasy rockets off from its base in fact. ‘Smog,’ written in 1958, marvelously anticipates a preoccupation with pollution that is raised to lunatic proportions. ‘The Argentine Ant’ is a masterpiece of sustained horror with farcical undertones, illustrating man’s defeat before an enemy too small and ubiquitous to be overcome. A bold intelligence, a true originality, a brilliant inventiveness raise these stories to an exhilarating pitch and make them irresistible reading.

 

 

Calvino ItaloItalo Calvino (October 15, 1923 - September 19, 1985) was an Italian journalist and writer of short stories and novels. His best known works include the Our Ancestors trilogy (1952-1959), the Cosmicomics collection of short stories (1965), and the novels Invisible Cities (1972) and If on a winter’s night a traveler (1979). Italo Calvino was born in Santiago de Las Vegas, Cuba, to botanists Mario Calvino and Evelina Mameli. (His brother was Floriano Calvino, a famous geologist.) The family soon moved to its homeland Italy, where Italo lived most of his life. They moved to Sanremo, on the Italian Riviera, where his father had come from (his mother came from Sardinia). The young Italo became a member of the Avanguardisti (a fascist youth organization in which membership was practically compulsory) with whom he took part in the occupation of the French Riviera. He suffered some religious troubles, as his relatives were openly atheist in a largely Catholic country. He was sent to attend a Waldensian private school. Calvino met Eugenio Scalfari (later a politician and the founder of the major Italian newspaper La Repubblica), with whom he would remain a close friend. In 1941 Calvino moved to Turin, after a long hesitation over living there or in Milan. He often humorously described this choice, and used to describe Turin as ‘a city that is serious but sad.’ In 1943 he joined the Partisans in the Italian Resistance, in the Garibaldi brigade, with the battlename of Santiago. With Scalfari he created the MUL (liberal universitarian movement). Calvino then entered the (still clandestine) Italian Communist Party. Calvino graduated from the University of Turin in 1947 with a thesis on Joseph Conrad and started working with the official Communist paper L’Unità. He also had a short relationship with the Einaudi publishing house, which put him in contact with Norberto Bobbio, Natalia Ginzburg, Cesare Pavese and Elio Vittorini. With Vittorini he wrote for the weekly Il Politecnico (a cultural magazine associated with the university). Calvino then left Einaudi to work mainly with L’Unità and the newborn communist weekly political magazine Rinascita. He worked again for the Einaudi house from 1950, responsible for the literary volumes. The following year, presumably to advance in the communist party, he visited the Soviet Union. The reports and correspondence he produced from this visit were later collected and earned him literary prizes. In 1952 Calvino wrote with Giorgio Bassani for Botteghe Oscure, a magazine named after the popular name of the party’s head-offices. He also worked for Il Contemporaneo, a Marxist weekly. From 1955 to 1958 Calvino had an affair with the actress Elsa de’ Giorgi, an older and married woman. Calvino wrote hundreds of love letters to her. Excerpts were published by Corriere della Sera in 2004, causing some controversy. In 1957, disillusioned by the 1956 Soviet invasion of Hungary, Calvino left the Italian Communist party. His letter of resignation was published in L’Unità and soon became famous. He found new outlets for his periodic writings in the magazines Passato e Presente and Italia Domani. Together with Vittorini he became a co-editor of Il Menabò di letteratura, a position which Calvino held for many years. Despite severe restrictions in the US against foreigners holding communist views, Calvino was allowed to visit the United States, where he stayed six months from 1959 to 1960 (four of which he spent in New York), after an invitation by the Ford Foundation. Calvino was particularly impressed by the ‘New World’: ‘Naturally I visited the South and also California, but I always felt a New Yorker. My city is New York.’ The letters he wrote to Einaudi describing this visit to the United States, were first published as ‘American Diary 1959-1960’ in the book Hermit in Paris in 2003. In 1962 Calvino met the Argentinian translator Esther Judith Singer (Chichita) and married her in 1964 in Havana, during a trip in which he visited his birthplace and met Ernesto Che Guevara. This encounter later led him to contribute an article on the 15th of October 1967, a few days after the death of Guevara, describing the lasting impression Guevara made on him. Back in Italy, and once again working for Einaudi, Calvino started publishing some of his cosmicomics in Il Caffè, a literary magazine. Vittorini’s death in 1966 influenced Calvino greatly. He went through what he called an ‘intellectual depression’, which the writer himself described as an important passage in his life: ‘. I ceased to be young. Perhaps it’s a metabolic process, something that comes with age, I’d been young for a long time, perhaps too long, suddenly I felt that I had to begin my old age, yes, old age, perhaps with the hope of prolonging it by beginning it early’. He then started to frequent Paris, where he was nicknamed L’ironique amusé. Here he soon joined some important circles like the Oulipo (Ouvroir de littérature potentielle) and met Roland Barthes and Claude Lévi-Strauss, in the fermenting atmosphere that was going to evolve into 1968’s cultural revolution (the French May). During his French experience, he also became fond of Raymond Queneau’s works, which would influence his later production. Calvino had more intense contacts with the academic world, with notable experiences at the Sorbonne (with Barthes) and at Urbino’s university. His interests included classical studies: Honoré de Balzac, Ludovico Ariosto, Dante, Ignacio de Loyola, Cervantes, Shakespeare, Cyrano de Bergérac, and Giacomo Leopardi. At the same time, not without surprising Italian intellectual circles, Calvino wrote novels for Playboy’s Italian edition (1973). He became a regular contributor to the important Italian newspaper Corriere della Sera. In 1975 Calvino was made Honorary Member of the American Academy, and the following year he was awarded the Austrian State Literary Prize for European literature. He visited Japan and Mexico and gave lectures in several American towns. In 1981 he was awarded the prestigious French Légion d’Honneur. During the summer of 1985, Calvino prepared some notes for a series of lectures to be delivered at Harvard University in the fall. However, on 6 September, he was admitted to the ancient hospital of Santa Maria della Scala in Siena, where he died during the night between the 18 and 19 September of a cerebral hemorrhage. His lecture notes were published posthumously as Six Memos for the Next Millennium in 1988. His style is not easily classified; much of his writing has an air of the fantastic reminiscent of fairy tales (Our Ancestors, Cosmicomics), although sometimes his writing is more ‘realistic’ and in the scenic mode of observation (Difficult Loves, for example). Some of his writing has been called ‘postmodern’, reflecting on literature and the act of reading, while some has been labeled ‘magical realist’, others fables, others simply ‘modern’. Twelve years before his death, he was invited to and joined the Oulipo group of experimental writers. He wrote: ‘My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.’.

 

 

 

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God's Fifth Column: A Biography Of The Age 1890-1940 by William Gerhardie. London. 1981. Hodder & Stoughton. hardcover. 360 pages. Cover design: Melvyn Gill. 0340263407.

 

 

0340263407FROM THE PUBLISHER -

 

 

   GOD’S FIFTH COLUMN is the last book of William Gerhardie who died in 1977 in his eighty-second year. Well known in the 1920s and 1930s chiefly as a novelist (whose books were admired by Arnold Bennett, Graham Greene, Evelyn Waugh and others). Gerhardie fell mysteriously silent at the beginning of the Second World War and did not publish another book during the remaining thirty-seven years of his life. After his death the manuscript of this ambitious and unusual book was discovered among his papers and has been skillfully edited for publication by Michael Holroyd and Robert Skidelsky. It is a biography of the age, 1890-1940, through which Gerhardie lived. ;If I were the Unknown Soldier,’ he wrote, ‘my ghost would refuse to lie down under the heavy piece of marble; I would arise, and I would say to them: keep your blasted memorial and learn sense!’ The suffering unit was Gerhardie’s measure of the crimes and follies of rulers; and his criticism of orthodox historians was that they echoed the generals and statesmen, endorsing the calculations of the insane. For Gerhardie, it is the artists, the men of imagination rather than of will, who are the true spokesmen for mankind; and it is through the artist’s vision and the writer’s use of language that he tries to bring the age into moral perspective. Gerhardie conceived GOD’S FIFTH COLUMN as the motive force that sabotages man’s complacency and makes progress possible. Faith, hope, charity and mercy are the four columns in God’s army; the fifth is divine discontent. The theme, like a fifth column agent himself, enters the work surreptitiously and gains force through cumulative illustration; the absurdity of Queen Victoria, empress of more than half the world, defending her hearthside rug from the footprint of Balfour; the tragic-comedy of Tolstoy, apostle of love, fleeing from his wife; the gaiety of Chekhov’s funeral, his coffin arriving in a truck marked ‘For Oysters.’ The incidents and personalities are subtly linked through contrast and parallel to make GOD’S FIFTH COLUMN one of the most remarkable works of this gifted writer.

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

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Memoirs Of A Polyglot: The Autobiography of William Gerhardie by William Gerhardie. New York. 1973. St Martin's Press. hardcover. 408 pages. Preface by Michael Holroyd. 0356031470.

 

0356031470FROM THE PUBLISHER -

 

   Written with a rare candour, this enchanting and entertaining book describes the early life of this ‘unique, isolated and important figure in English letters.’ William Gerhardie has been quoted as saying that his hopes lie in ‘ever being discovered astonishingly anew.’ He has revised and briefly expanded his autobiography (first written in 1931) for its inclusion in Macdonald’s new definitive editions of his works, all of which are introduced by Prefaces by Michael Holroyd. Mr Gerhardie writes about his grandparents and parents, and about his childhood in St Petersburg where his father, a Br1tish cotton manufacturer settled in the 1890s. He joined the Scots Greys in the First World War, was commissioned and posted to the British Embassy at Petrograd, where he saw the Russian Revolution in various stages. MEMOIRS OF A POLYGLOT is illustrated with photographs, many of them charming examples from family albums. At Oxford, he wrote FUTILITY, the first of his novels. MEMOIRS OF A POLYGLOT wonderfully illuminates the literary personality and the enduring works of this author, of whom C. P. Snow has said: ‘He is a comic writer of genus. but his art is profoundly serious. William Gerhardie was the friend some of the most interesting people of the 1920s and 1930s - from Beaverbrook to the Sitweils - and writes brilliantly, and amusingly about the literary and political scene. ‘The narrative,’ Michael Holroyd says in his Preface, ‘which contains so many percipient little pen portraits, stops for no man, but merely seems to pick them up in its stride.’ As Michael Ivens has commented, William Gerhardie’s life has been full of ‘odd and incredible events’ and these - including many travels - are described in MEMOIRS OF A POLYGLOT with zest, humour and remarkable insight. 

 

 

 

Gerhardi William William Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

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Anton Chehov by William Gerhardi. New York. 1923. Duffield & Company. hardcover. 207 pages.

 

 

anton chehov no dwFROM THE PUBLISHER -

 

 

   Author's second book, and the first full-length book on Chehov in any language other than Russian.Gerhardi’s study is centered on a concept of ‘the ineffable,’ which permits the novel to do what philosophy cannot, in other words to hold apparently irreconcilable ideas in a significant relationship. ‘There is a book’, wrote Desmond MacCarthy in the New Statesman, ‘no-one interested in Chehov should miss reading. It has been out some time, and it is by Mr William Gerhardie who wrote that admirable novel about Russian life, Futility. This critical study is one of the best I have read. one that will find a permanent place in any library of critical literature.’ Written for the most part while Gerhardie was at Oxford, Anton Chehov was first published in 1923. It was, indeed, the first critical study of Chehov to be published in any language, and the general acclaim with which it was greeted in England and America was echoed in Russia, where today it is still spoken of as a standard work. For English readers, dealing as it does with the whole of Chehov’s work, it remains one of the most authoritative studies available. Gerhardie was uniquely placed to write this book. His Russian childhood and bilingual upbringing enabled him to appreciate Chehov’s humour and lyricism in a way which simply was not open to those who had access to Chehov’s writings merely in translation. This is a work of warmth and affection. To some extent, Gerhardie claims, Chehov’s writings can take the place of life itself, so that, when they die, Chehov’s readers ‘may congratulate themselves on having lived a hundred lives - but paid for one’. Gerhardie has for Chehov, in addition to the deep understanding ofone imaginative writer for another, a love which is part of his love of life itself.

 

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

 

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Little Lit: Stranger Stories for Strange Kids by Art Spiegelman and Francoise Mouly (editors). New York. 2001. Harper Collins. hardcover. 64 pages. September 2004. 0060286261.

 

 

0060286261FROM THE PUBLISHER -

 

 

   The second groundbreaking anthology from the New York Times best-selling team of Art Spiegelman and Francoise Mouly is here! The everyday world is turned upside down and the ordinary becomes extraordinary in this collection of the strangest tales. From Art Spiegelman's The Several Lives of Selby Sheldrake to Maurice Sendak's Cereal Baby Keller to Jules Feiffer's Trapped in a Comic Book, these stories are sure to entice any young reader. Also included are comics and features by Ian Falconer and David Sedaris, Paul Auster and Jacques de Loustal, Crockett Johnson, Richard McGuire, and Barbara McClintock, a puzzle by Lewis Trondheim, and make-your-own comic-book endpapers from Kaz. Little Lit Strange Stories for Strange Kids continues the tradition of bringing the pleasure of books and reading into the hands and minds of kids.

 

 

 

Spiegelman Art and Mouly Francoise Art Spiegelman is a contributing editor and artist for The New Yorker, and a co-founder / editor of RAW, the acclaimed magazine of avant-garde comics and graphics. His drawings and prints have been exhibited in museums and galleries here and abroad. Honors he has received for MAUS include the Pulitzer Prize, a Guggenheim fellowship, and nominations for the National Book Critics Circle Award. Françoise Mouly (born 1955) is a Paris-born New York-based designer, editor, and publisher. She is best known as co-founder, co-editor, and publisher of the comics and graphics magazine Raw (1980–1991), as the publisher of Raw Books and Toon Books, and since 1993 as the art editor of The New Yorker. Mouly is married to cartoonist Art Spiegelman, and is the mother of writer Nadja Spiegelman. As editor and publisher, Mouly has had considerable influence on the rise in production values in the English-language comics world since the early 1980s. She has played a role in providing outlets to new and foreign cartoonists, and in promoting comics as a serious artform and as an educational tool. The French government decorated Mouly as a Knight of the Order of Arts and Letters in 2001, and as Knight of the Legion of Honour in 2011.

 

 

 

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Crimes Of Conscience: Selected Short Stories by Nadine Gordimer. London. 1991. 121 pages. paperback. 0435906682. 

 

 

 

0435906682FROM THE PUBLISHER -

 

 

   This powerful collection of short stories, set in Gordimer's native South Africa, reveals her outstanding ability to pierce the core of the human condition.

 

 

 

Gordimer NadineNadine Gordimer (20 November 1923 – 13 July 2014) was a South African writer, political activist and recipient of the 1991 Nobel Prize in Literature. She was recognized as a woman ‘who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity’. Gordimer's writing dealt with moral and racial issues, particularly apartheid in South Africa. Under that regime, works such as Burger's Daughter and July's People were banned. She was active in the anti-apartheid movement, joining the African National Congress during the days when the organization was banned. She was also active in HIV/AIDS causes. Ms Gordimer once said, ‘In imaginative writing theme is communication in the deepest sense. . . . Themes are statements or questions arising from the nature of the society in which the writer finds himself immersed and the kind and quality of the life around him.’ 

 

 

 

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Headed For The Blues: A Memoir by Josef Skvorecky. Hopewell. 1996. Ecco Press. hardcover. 176 pages. Translated from the Czech by Kaca Polackova Henley. 0880014628.

 

 

0880014628FROM THE PUBLISHER -

 

   Jazz, politics, sex, fear, and the humor necessary to survive absurdity provide the backdrop as Skvorecky seamlessly interweaves his own story with those of his friends; particularly that of his childhood friend Prema, whose life stands in stark contrast to Skvorecky's own. Forced to flee the country shortly after the end of World War II for illegally broadcasting from a stolen transmitter, Prema embarks on an itinerant life, wandering as far as Australia, occasionally dropping Skvorecky 'Dear Old Buddy' postcards reporting on a life robbed of its home and its promise. Headed for the Blues recounts Czechoslovakia's evolution from Nazi rule to Soviet-dominated communism, from the age of the 'exhausted executioners' ('there were so many executions the Ministry asked them to slow down, the executioners are exhausted') to the age of those petty agents of the secret police called fizls ('rhymes with weasels'), a time when friends and neighbors - even family members - informed on one another. As a culture of fear and mistrust grew in the country, the lives of its people were heedlessly tossed about by the winds of politics. Throughout the book there are fascinating digressions on the subject of writing from a master of twentieth-century literature. Skvorecky discusses his own novels, the works of others, the process of writing, and the differences between real life and his highly autobiographical fiction.

 

Skvorecky JosefJosef Škvorecký (September 27, 1924 – January 3, 2012) was a Czech-Canadian writer and publisher who spent much of his life in Canada. SKVORECKY was born in Bohemia, emigrated to Canada in 1968, and was for many years a professor of English at Erindale College, University of Toronto. He and his wife, the novelist Zdena Salivarova, ran a Czech-language publishing house, Sixty-Eight Publishers, in Toronto, and were long-time supporters of Czech dissident writers before the fall of communism in that country. Skvorecky’s novels include THE COWARDS, MISS SILVER’S PAST, THE BASS SAXOPHONE, THE ENGINEER OF HUMAN SOULS, and DVORAK IN LOVE. He was the winner of the 1980 Neustadt International Prize for Literature and the 1984 Governor General’s Award for fiction in Canada. Škvorecký's fiction deals with several themes: the horrors of totalitarianism and repression, the expatriate experience, and the miracle of jazz.

 

 

 

 

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Fox In Socks by Dr. Seuss. New York. 1993. unpaginated. hardcover. 0394800389. Cover art by Dr. Seuss.

 

0394800389FROM THE PUBLISHER -

 

   A collection of tongue twisters that is 'an amusing exercise for beginning readers.' - Kirkus.

 

 

Seuss DrTheodor Seuss Geisel (March 2, 1904 – September 24, 1991) was an American writer, poet, and cartoonist most widely known for children's picture books written and illustrated as Dr. Seuss. He had used the pen name Dr. Theophrastus Seuss in college and later used Theo LeSieg, and once Rosetta Stone, as well as Dr. Seuss. Geisel published 46 children's books, which were often characterized by imaginative characters, rhyme, and frequent use of anapestic meter. His most celebrated books include the bestselling Green Eggs and Ham, The Cat in the Hat, One Fish Two Fish Red Fish Blue Fish, Horton Hatches the Egg, Horton Hears a Who!, and How the Grinch Stole Christmas!. Numerous adaptations of his work have been created, including 11 television specials, four feature films, a Broadway musical and four television series. He won the Lewis Carroll Shelf Award in 1958 for Horton Hatches the Egg and again in 1961 for And to Think That I Saw It on Mulberry Street. Geisel also worked as an illustrator for advertising campaigns, most notably for Flit and Standard Oil, and as a political cartoonist for PM, a New York City newspaper. During World War II, he worked in an animation department of the United States Army, where he wrote Design for Death, a film that later won the 1947 Academy Award for Documentary Feature. He was a perfectionist in his work and he would sometimes spend up to a year on a book. It was not uncommon for him to throw out 95% of his material until he settled on a theme for his book. For a writer he was unusual in that he preferred to only be paid after he finished his work rather than in advance. Geisel's birthday, March 2, has been adopted as the annual date for National Read Across America Day, an initiative on reading created by the National Education Association.

 

 

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Futility: A Novel On Russian Themes by William Gerhardi. New York. 1922. Duffield & Company. hardcover. 256 pages. Preface by Edith Wharton.

 

futility duffield no dwFROM THE PUBLISHER -

 

   This is the first novel by William Gerhardie, first published in 1922, and it was made famous by H. G. Wells, who described it as 'true, devastating - a wonderful book'. Based on Gerhardie's own experiences as a member of the British Military Mission to Siberia shortly after the October Revolution, Futility paints a picture of contemporary Russian society which deserves comparison with the writing of Chekhov. At the centre of the story is Nicolai Vasilievich, who trails across Russia in the wake of the British Mission in the perpetual and unrealistic hope of seeing his fortunes improve, even though they steadily deteriorate. In counterpoint to Nicolai's comic progression, Gerhardie tells the story of his narrator's hopeless love for Nina, the second of Nicolai's three bewitching adolescent daughters. 'William Gerhardie is one of our immortals. He is our Gogol's Overcoat. We all came out of him.' Olivia Manning 'He is a comic writer of genius. but his art is profoundly serious.' C. P. Snow.

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

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The Bass Saxophone by Josef Skvorecky. New York. 1979. Knopf. hardcover. 212 pages. January 1979. Front-of-jacket illustration by G. Freschet. Translated from the Czech by Kaca Polackova-Henley. 0394502671.

 

 

0394502671FROM THE PUBLISHER -

 

   The two haunting, poetic novellas that comprise THE BASS SAXOPHONE brilliantly evoke the comedy and sadness of life under the Nazi and Soviet dictatorships. They are prefaced by a remarkable memoir of Skvorecky's jazz-obsessed youth. Jazz is a symbol of freedom in both these novellas. In EMOKE, which is set in the shadow of the Communist regime, jazz becomes the means by which a jaded young man plots the seduction of a mysterious girl enmeshed in superstition and the occult. Spurned, but fascinated, he is drawn into her tortured existence until catapulted into the final bitter comedy. In THE BASS SAXOPHONE a young Czechoslovakian student living under the rule of the Nazis is lured by his love of jazz - the ‘forbidden music’ - into secretly and dangerously playing in a German band, with bizarre and unexpected results. Written with the lyrical intensity of a great jazz performance, these two extraordinary novellas are among Skvorecky's finest works.

 

 

Skvorecky JosefJosef Škvorecký (September 27, 1924 – January 3, 2012) was a Czech-Canadian writer and publisher who spent much of his life in Canada. SKVORECKY was born in Bohemia, emigrated to Canada in 1968, and was for many years a professor of English at Erindale College, University of Toronto. He and his wife, the novelist Zdena Salivarova, ran a Czech-language publishing house, Sixty-Eight Publishers, in Toronto, and were long-time supporters of Czech dissident writers before the fall of communism in that country. Skvorecky’s novels include THE COWARDS, MISS SILVER’S PAST, THE BASS SAXOPHONE, THE ENGINEER OF HUMAN SOULS, and DVORAK IN LOVE. He was the winner of the 1980 Neustadt International Prize for Literature and the 1984 Governor General’s Award for fiction in Canada. Škvorecký's fiction deals with several themes: the horrors of totalitarianism and repression, the expatriate experience, and the miracle of jazz.

 

 

 

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Pretty Creatures by William Gerhardi. New York. 1927. Duffield & Company. hardcover. 194 pages.

 

 

pretty creaturesFROM THE PUBLISHER -

 

 

   Written between 1924 and 1925, in a wonderfully spare prose in which not a word is wasted, Pretty Creatures consists of three short novels and two stories which show Gerhardie’s gifts of perception in their purest form. One of the stories was described by Julian Symons as ‘a little masterpiece.’

 

 

 

 

 

 

 

 

 

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

 

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You Can't Do Both by Kingsley Amis. London. 1994. Hutchinson & Company. hardcover. 306 pages. 0091782627.

 

 

0091782627FROM THE PUBLISHER -

 

 

   In this strongly autobiographical novel, set in pre-war England, Robin Davies suffocates under an overbearing father and a gentile society. He aches for discovery, for independence - and tries it with Dilys, seductive and insatiable; with Jeremy, intellectual and anguished; and with Nancy, the Oxford woman who marked a key turning point in his life. This is a coming-of-age, not a parting-of-ways story, for Robin's relationship with his father eventually becomes deeply affectionate and affecting. 'Funny, outrageous and tender.' (B-O-T Editorial Review Board).

 

 

Amis KingsleyKingsley Amis was born in South London in 1922 and was educated at the City of London School and at St John’s College, Oxford, of which he is an Honorary Fellow. Between 1949 and 1963 he taught at the University College of Swansea, Princeton University and Peterhouse, Cambridge. He started his career as a poet and has continued to write in that medium ever since. His novels include LUCKY JIM (1954). TAKE A GIRL LIKE YOU (1960), THE ANTI-DEATH LEAGUE (1966), ENDING UP (1974), THE ALTERATION (1976), JAKE’S THING (1978) and STANLEY AND THE WOMEN (1984). His novel, THE OLD DEVILS, won the Booker Prize for Fiction in 1986. Among his other publications are NEW MAPS OF HELL, a survey of science fiction (1960), RUDYARD KIPLING AND HIS WORLD (1975) and THE GOLDEN AGE OF SCIENCE FICTION (1981). He published his COLLECTED POEMS in 1979, and has also edited THE NEW OXFORD BOOK OF LIGHT VERSE and THE FABER POPULAR RECITER. Kingsley Amis was awarded the CBE in 1981.

 

 

 

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Pending Heaven by William Gerhardi. New York. 1930. Harper & Brothers. hardcover. 293 pages.

 

FROM THE PUBLISHER -

 

pending heaven no dw   ‘A fantastic, semi-symbolical, loosely written narrative in which the characters are a pack of lunatics with farmyard morals - Liverpool Post. Gerhardie himself descried the book as ‘ a novel about two men treading the donkey-round of paradise deferred their literary friendship strained to breaking-point by rivalry in love. The two main characters are thought to be based on Hugh Kingsmill (Max) and Gerhardie himself (Victor).

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

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The Pencil Of God by Philippe Thoby-Marcelin and Pierre Marcelin. Boston. 1951. Houghton Mifflin. hardcover. 204 pages. Cover: Anne Marie Jauss. Translated from the French by Leonard Thomas. 078144554x.

 

pencil of godFROM THE PUBLISHER -

 

   In their latest novel, THE PENCIL OF GOD, the Marcelin brothers strike a new note. The first novel, CANAPÊ VERT, was awarded the prize by John Dos Passos in the Latin-American contest. OF CANAPÉ VERT and THE BEAST OF THE HAITIAN HILLS, Waldo Frank has said: ‘The novels of the Marcelins capture the profound rhythms of Haitian life, and reveal both the folkloric roots and the social actuality of a dramatic unique people.’ With the Haitian exposition to celebrate the 150th anniversary of their liberation, the spotlight is on Haiti. The Marcelins emerge more clearly than ever as the eloquent representatives of a literature which has at last come into its own. THE PENCIL OF GOD writes hard and fast when it writes; and the Haitians it say the pencil of God has no eraser. This is a novel of the strange half-lit world which exists in Haiti between the church and voodoo, and of a simple devout man, Diogene Cyprien, a small warehouse owner, whose weakness is an everlasting and virile love of the ladies. In his last fling, the very dissimulation and craftiness which he has used to attain his heart’s desire is boomeranged back to him by his love’s old female relatives, who place a voodoo curse on him. His life becomes a series of freak disasters - tongues clack in the provincial, small-town atmosphere of Saint-Marc. The gossip that he is a werewolf, a fiend, a consort of evil spirits, at first a whisper, becomes a deafening roar. Like a swimmer pulled by the tide between the sharks and the reefs, Diogene is pulled between the church and voodoo. The curse is the curse of gossip and suspicion, which can be as effective in Boston or New York or anywhere else as it is in Haiti. THE PENCIL OF GOD is not an explanation of why Haitians believe in voodoo or why it works, but of the subtle suggestive process of how. In THE PENCIL OF GOD the Marcelin brothers present that society halfway between Paris and Africa, half civilized and half primitive. Edmund Wilson has said: ‘They have an interest and importance something like that of Silone.’ It is not unusual in Haiti for a son to prefix his mother’s maiden name to his surname, and Philippe Thoby-Marcelin has availed himself of this custom, while his brother, Pierre Marcelin, has not. Both, however, were born of the same parents in Port-au-Prince, Haiti, the heirs to a family literary tradition. Their maternal grandfather, Armand Thoby, attained eminence as a Haitian author as did an uncle, Perceval Thoby, who specialized in political writings. Their father, Emile Marcelin, in addition to having a political career which culminated in the posts of Minister of Finance and Haitian Minister to Cuba, was a novelist and literary critic. Their formal education was entrusted to the Catholic clergy of Haiti’s novels of Haiti’s private schools while their informal education was accomplished - at least in part - by the writers and political leaders who made the Marcelin home in Port-au-Prince a gathering place. Their paternal grandmother, Heloise Marcelin, the foremost pianist of her time, exerted an influence on their artistic education. Philippe Thoby-Marcelin has borne the responsibility for much of Haiti’s renaissance in the arts and was a leader in the avant-garde literary movement there. As a member of the group which centered around ‘La Revue Indigène’ he took a strong stand against the imitation of French writing which has been the custom with his literary forebears. The tenets of this circle were frankly nationalistic and stemmed from the belief that their cultural heritage was the strongest weapon against any deleterious influences from the United States. By writing as Haitians, speaking the language of their own people and their own times, they strove to encourage a respect for values native to Haitians and to all black peoples. ‘We were called - with a certain good humor to be sure - these young messieurs of La Revue Indigeste’ (The Indigestible Review),’ says Mr. Thoby-Marcelin. ‘We were very unjust toward our elders whom we accused of having failed at everything, particularly in guarding our country’s independence. We did not take the obstacles into account and we failed to see that after all they had advanced, that in many ways they had prepared the way for us.'

 

 

Thoby Marcelin Philippe and Marcelin PierrePhilippe Thoby-Marcelin (1904–1975), was a Haitian poet, novelist, journalist, folklorist and politician. Philippe Thoby-Marcelin was born December 11, 1904 in Port-au-Prince. He and his younger brother, Pierre Marcelin (1908-?), worked together on the writing of several novels about rural Haiti, highlighting the themes of peasant life and Haitian folklore. Philippe went to high school in Port-au-Prince and finished his education in Paris where he studied law. While there, he became acquainted with Valéry Larbaud, who arranged to have some of his poems published in La revue européenne, a monthly literary journal that was published from 1923 to 1931. Back in Haiti, he began his career as general secretary at the Ministry of Public Works. Like most Haitian intellectuals, he was opposed to the American occupation of Haiti, which had been established in 1915. In 1927, together with Jacques Roumain, Carl Brouard, Émile Roumer and Normil Sylvain (1900-1929), he helped create La Revue Indigène, a literary journal in which they published their poems. They idea was to honor the indigenous Haitian literary and artistic material, and return the culture to its pre-occupational state. His first novel Canapé-Vert, was published in 1944. In 1946, he participated in the founding of the short-lived Popular Socialist Party (PSP), together with Anthony Lespès (fr). That same year he published his second novel, La Bête de Musseau, translated as The Beast of the Haitian Hills. In 1948, when the PSP was declared illegal by President Dumarsais Estimé, he moved to the United States, where he worked as a translator for the Pan-American Union. His third novel, Le Crayon de Dieu, appeared in 1952. His last novel, Tous les Hommes sont Fous was published in 1972 and translated into English by his wife, Eva. He died at his home in Cazenovia, near Syracuse, New York, in 1975.

 

 

 

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Polyglots by William Gerhardi. New York. 1925. Duffield & Company. hardcover. 375 pages.

 

 

polyglots duffield no dwFROM THE PUBLISHER -

 

   THE POLYGLOTS, Gerhardie’s comic masterpiece, is the unforgettable tale of an eccentric Belgian family living in the Far East through the uncertain years after the First World War and the Russian Revolution. The tale is recounted by their dryly conceited young English relative Captain Georges Hamlet Alexander Diabologh, who comes to stay with them during his military mission to the East. Filled with a host of bizarre characters - depressives, obsessives, paranoiacs, sex maniacs, hypochondriacs - Gerhardie paints a wonderfully absurd and directionless world where the comic and tragic are irrevocably entwined.

 

 

Gerhardi William

William Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

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Burger's Daughter by Nadine Gordimer. New York. 1979. 361 pages. hardcover. 0670194751. 

 

 

0670194751FROM THE PUBLISHER -    A depiction of South Africa today, this audiobook is more revealing than a thousand news dispatches as it tells the story of a young woman cast in the role of a young revolutionary, trying to uphold a heritage handed on by martyred parents while carving out a sense of self.

 

 

Gordimer NadineNadine Gordimer (20 November 1923 – 13 July 2014) was a South African writer, political activist and recipient of the 1991 Nobel Prize in Literature. She was recognized as a woman ‘who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity’. Gordimer's writing dealt with moral and racial issues, particularly apartheid in South Africa. Under that regime, works such as Burger's Daughter and July's People were banned. She was active in the anti-apartheid movement, joining the African National Congress during the days when the organization was banned. She was also active in HIV/AIDS causes. Ms Gordimer once said, ‘In imaginative writing theme is communication in the deepest sense. . . . Themes are statements or questions arising from the nature of the society in which the writer finds himself immersed and the kind and quality of the life around him.’

 

 

 

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There's A Wocket In My Pocket! by Dr. Seuss. New York. 1974. unpaginated. BE18. hardcover. 0394829204. Cover art by Dr. Seuss. 

 

0394829204FROM THE PUBLISHER -

 

   There's a Wocket in My Pocket is filled with bizarre creatures and rhymes: the nupboard in the cupboard, ghairs beneath the stairs, and the bofa on the sofa!

 

 

Seuss DrTheodor Seuss Geisel (March 2, 1904 – September 24, 1991) was an American writer, poet, and cartoonist most widely known for children's picture books written and illustrated as Dr. Seuss. He had used the pen name Dr. Theophrastus Seuss in college and later used Theo LeSieg, and once Rosetta Stone, as well as Dr. Seuss. Geisel published 46 children's books, which were often characterized by imaginative characters, rhyme, and frequent use of anapestic meter. His most celebrated books include the bestselling Green Eggs and Ham, The Cat in the Hat, One Fish Two Fish Red Fish Blue Fish, Horton Hatches the Egg, Horton Hears a Who!, and How the Grinch Stole Christmas!. Numerous adaptations of his work have been created, including 11 television specials, four feature films, a Broadway musical and four television series. He won the Lewis Carroll Shelf Award in 1958 for Horton Hatches the Egg and again in 1961 for And to Think That I Saw It on Mulberry Street. Geisel also worked as an illustrator for advertising campaigns, most notably for Flit and Standard Oil, and as a political cartoonist for PM, a New York City newspaper. During World War II, he worked in an animation department of the United States Army, where he wrote Design for Death, a film that later won the 1947 Academy Award for Documentary Feature. He was a perfectionist in his work and he would sometimes spend up to a year on a book. It was not uncommon for him to throw out 95% of his material until he settled on a theme for his book. For a writer he was unusual in that he preferred to only be paid after he finished his work rather than in advance. Geisel's birthday, March 2, has been adopted as the annual date for National Read Across America Day, an initiative on reading created by the National Education Association.

 

 

 

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The Passion Of New Eve by Angela Carter. New York. 1977. Harcourt Brace & Jovanovich. hardcover. 191 pages. Jacket design by Richard Mantel. 0151712850.

 

0151712850FROM THE PUBLISHER -

 

   ‘I know nothing. I am a tabula rasa, a blank sheet of paper, an unhatched egg. I have not yet become a woman, although I possess a woman’s shape. Not a woman, no: both more and less than a real woman. Now I am a being as mythic and monstrous as Mother herself. New York has become the City of Dreadful Night where dissolute Leilah performs a dance of chaos for Evelyn. But this young Englishman’s fate lies in the arid desert, where a many-breasted fertility goddess will wield her scalpel to transform him into the new Eve.

 

 

Carter AngelaAngela Carter (7 May 1940 – 16 February 1992) was an English novelist and journalist, known for her feminist, magical realism, picaresque and science fiction works. In 2008, The Times ranked Carter tenth, in their list of ‘The 50 greatest British writers since 1945’ Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature. She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in NOTHING SACRED (1982) that she ‘learnt what it is to be a woman and became radicalised.’ She wrote about her experiences there in articles for New Society and a collection of short stories, FIREWORKS: NINE PROFANE PIECES (1974), and evidence of her experiences in Japan can also be seen in THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN (1972). She then explored the United States, Asia and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son. As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in SHAKING A LEG. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and THE MAGIC TOYSHOP (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Woolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003). Her novel NIGHTS AT THE CIRCUS won the 1984 James Tait Black Memorial Prize for literature. At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives. Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer.

 

 

 

 

 

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Meet Yourself As You Really Are by William Gerhardi and Prince Leopold Loewenstein. Philadelphia. 1936. Lippincott. hardcover. 336 pages.

 

FROM THE PUBLISHER -

 

meet yourself as you really are no dw   Your personality is unique - unique in its particular combination of traits common to everybody. This book in no way minimizes your individuality but it approaches that individuality via widely shared characteristics. A series of searching questions reveals first the general out- line, then the details of your own life-pattern. What may seem at first glance to be a maze of questions, instructions, and cross-references soon turns out to be a clear path towards self- revelation. The authors of this unusual book have worked for many years to perfect the nearest possible approach to an accurate characterology.

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

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Poems and Antipoems by Nicanor Parra. New York. 1967. New Directions. hardcover. 149 pages. Jacket photograph by Thomas Merton. Design by David Ford. Edited by Miller Williams. 

 

 

poems and antipoems new directions 1967FROM THE PUBLISHER -

 

   The Chilean poet Nicanor Parra is one of those significant figures who appear from time to time in all literature and through a profound originality and sense of the Pound/Confucius principle of ‘Make It New’ revitalize the poetry of their language. Just as the Imagists and William Carlos Williams re-channelled the course of American poetry, so Parra’s ‘antipoems,’ with their directness of metaphor and rejection of rhetoric and ‘poetic’ decoration, are influencing young poets throughout Latin America, ‘Anti poetry,’ Parra has said, ‘seeks to return poetry to its roots.’ The reader may judge from this collection, which is drawn from all of Parra’s published books, how well he has succeeded. Poems and 14ntipoems has been edited, with an introduction, by Miller Williams and presents Parra’s Spanish texts opposite the English versions which are by the editor, W. S. Merwin, Denise Levertov, Thomas Merton, William Carlos Williams, Allen Ginsberg, Fernando Alegria, J. Laughlin, and Lawrence Ferlinghetti, who first discovered Parra for North American readers with a book in the City Lights series in 1960. CONTENTS: Introduction; from POEMAS Y ANTIPOEMAS (1938-1953) - Nineteen-Thirty; Disorder in Heaven; Self-Portrait; Song; Ode to Some Doves; Puzzle; Madrigal; Landscape; Travel Notes; Letters to an Unknown Woman; The Pilgrim; The Tunnel; Memories of Youth; Piano Solo; The Viper; The Vices of the Modern World; The Tablets; The Trap; The Individual’s Soliloquy; from VERSOS DE SALON (1953-1962) - Changes of Name; Roller Coaster; In the Graveyard; Clever Ideas Occur to Me; Love Tale; Journey through Hell; Death and the Maiden; I Move the Meeting Be Adjourned; Mummies; Butterfly; Dreams; Dog’s Life; Poetry Ends With Me; Women; Soda Fountain; Litany of the Little Bourgeois; What the Deceased Had To Say About Himself; Funeral Address; The Imperfect Lover; The Shuffled Deck; from CANCIONES RUSAS (1963-1964) - Snow; Chronos; Beggar; Hot Cakes; Rites; Nobody; from EJERCICIOS RESPIRATORIOS (1964-1966) - Stains on the Wall; Act of Independence; Lonelyhearts; I call Myself a Reasonable Man; Thoughts; In The Cemetery; Young Poets; Ponchartrain Causeway; Test; Lord’s Prayer; I Take Back Everything I’ve Said. Poemas y Antipoemas and Versos de Salon were first published by Editorial Nascimento, Santiago de Chile, Canciones Rusas was first published by Editorial Joaquin Mortiz, Mexico City. Nicanor Parra’s first book publication in the United States was a selection of Antipoems in Lawrence Ferlinghetti’s City Lights ‘Pocket Poets’ Series, San Francisco.

 

 

Parra NicanorNicanor Parra Sandoval (born 5 September 1914) is a Chilean poet, mathematician, and physicist. He is considered an influential poet in Chile and throughout Latin America. Some rank him among the most important poets of Spanish language literature. Parra describes himself as an ‘anti-poet,’ due to his distaste for standard poetic pomp and function; after recitations he exclaims ‘Me retracto de todo lo dicho’ (‘I take back everything I said’). Parra, the son of a schoolteacher, was born in 1914 in San Fabián de Alico, Chile, near Chillán in southern Chile. He comes from the artistically prolific Parra family of performers, musicians, artists, and writers. His sister, Violeta Parra, was a folk singer, as was his brother Roberto Parra Sandoval. In 1933, he entered the Instituto Pedagógico of the University of Chile, and qualified as a teacher of mathematics and physics in 1938, one year after his first book, Cancionero sin Nombre, appeared. After teaching in Chilean secondary schools, in 1943 he enrolled in Brown University in the United States to study physics. In 1948, he attended Oxford University to study cosmology. He returned to Chile as a professor at the Universidad de Chile in 1946. Since 1952, Parra has been professor of theoretical physics in Santiago and has read his poetry in England, France, Russia, Mexico, Cuba, and the United States. He has published several books. Parra chooses to leave behind the conventions of poetry; his poetic language renounces the refinement of most Latin American literature and adopts a more colloquial tone. His first collection, Poemas y Antipoemas (1954) is a classic of Latin American literature, one of the most influential Spanish poetry collections of the twentieth century. It is cited as an inspiration by American Beat writers such as Allen Ginsberg. On December 1, 2011, Parra won the Spanish Ministry of Culture's Cervantes Prize, the most important literary prize in the Spanish-speaking world. On June 7, 2012, he won the Premio Iberoamericano de Poesía Pablo Neruda.

 

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Chamber Music by James Joyce. New York. 1971. Grossman Publishers/Cape Editions. paperback. 46 pages. Cape Editions 48. 0670211273.

 

0670211273FROM THE PUBLISHER -

 

   CHAMBER MUSIC, which appeared originally in 1907, was the first of Joyce’s books to reach the public. Though it brought no royalties, it was to gain him a place in the Imagist Anthology. It was thus to associate him with the Anglo-American group that included Eliot and Pound, who later helped to publicize his books. Elusive and formal, these poems are, above all, musical. Joyce, who trained as a singer in Paris, set out to write lyrics that could be sung, and their imagery – characteristically - appeals chiefly to the ear. Echoes from books, together with images from musical instruments, contribute to Joyce’s ‘elegant and antique phrase’. His models are the Elizabethan lyricists, the airs of Dowland and the words of Shakespeare. Joyce made the selection for CHAMBER MUSIC, sequentially arranged, from the large amount of verse composed during his Dublin days. It was first published by Jonathan Cape in 1927.

 

 

Joyce JamesJames Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Joyce was born in Dublin, Ireland, on February 2, 1882. He was the oldest of ten children in a family that experienced increasing financial difficulties during his childhood. After attending Clongowes Wood College and Belevedere College (both Jesuit institutions) in Dublin, he entered the Royal University, where he studied languages and philosophy. Upon his graduation, in 1902, Joyce left Ireland for France but returned the following year because his mother was dying. In 1904 he met Nora Barnacle (they fell in love on June 16, ‘Bloomsday’), and in October of that year they went together to Europe, settling in Trieste. In 1909 and again in 1912 Joyce made unsuccessful attempts to publish Dubliners, a collection of fifteen stories that he intended to be ‘a chapter of the moral history of my country focused on Dublin, ‘the centre of paralysis.’ In 1914 Dubliners finally appeared, followed by the semiautobiographical novel A PORTRAIT OF THE ARTIST AS A YOUNG MAN, a reworking of an earlier manuscript, STEPHEN HERO. During the First World War Joyce and Nora lived in Zurich; in 1920 they moved to Paris, where Ulysses was published in 1922. FINNEGANS WAKE, Joyce’s most radical and complex work, began appearing in installments in 1928 and was published in its entirety in 1939. After the German occupation of Paris, Joyce and Nora (who were married in 1931) moved to Zurich, where he died in January. His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend far beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, ‘For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.’

 

 

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The Mixquiahuala Letters by Ana Castillo. Binghamton. 1986. Bilingual Press. hardcover. 132 pages. Cover design: Christopher J. Bidlack. 0916950670.

 

 

0916950670FROM THE PUBLISHER -

 

   THE MIXQUIAHUALA LETTERS, an epistolary novel focusing on the correspondence between two Hispanic women, is a probing description of the relationship between the sexes. The novel is a far-ranging social and cultural document that encompasses both Mexican and United States Hispanic forms of love and gender conflict. Readers will find the conclusion of this novel to be a most powerful and emotionally gripping evocation of sexual warfare.

 

 

Castillo AnaAna Castillo (born 15 June 1953) is a Mexican-American Chicana novelist, poet, short story writer, essayist, editor, playwright, translator and independent scolar. Considered as one of the leading voices in Chicana experience, known for her daring and experimental style as a Latino novelist. Her works offer pungent and passionate socio-political comment that is based on established oral and literary traditions. Castillo's interest in race and gender issues can be traced throughout her writing career. Her novel, Sapogonia was a New York Times Notable Book of the Year. She is the editor of ‘La Tolteca’, an arts and literary magazine. Castillo held the first Sor Juana Inés de la Cruz Endowed Chair at DePaul University. She has attained a number of awards including an American Book Award from the Before Columbus Foundation for her first novel, ‘The Mixquiahuala Letters’, a Carl Sandburg Award, a Mountains and Plains Booksellers Award, a fellowship from the National Endowment for the Arts in fiction and poetry and in 1998 Sor Juana Achievement Award by the Mexican Fine Arts Center Museum in Chicago.

 

 

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The Romanovs: Evocation of the Past as a Mirror for the Present by William Gerhardi. London. 1940. Rich & Cowan. hardcover. 542 pages.

 

 

romanovs rich and cowan no dwFROM THE PUBLISHER -

 

 

   A vivid and highly entertaining account of the Russian dynasty, presenting history ‘with singular dramatic power and with an easy command of all the authorities’ (Daily Telegraph).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

 

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Laughter In The Dark by Vladimir Nabokoff. Indinapolis. 1938. 292 pages. hardcover. 

 

laughter in the dark no dwFROM THE PUBLISHER -

 

 

   Laughter in the Dark is a worked-over English translation of Kamera obskura, with the names of the main characters altered but with theme and plot more or less intact. A rather stuffy Berlin art critic (Bruno Krechmar in the Russian version / Albert Albinus in the English translation) becomes infatuated with a teenaged gamine (Margot,) leaving his wife and child to set up house with her. Through Albinus, Margot again encounters her first lover, an inhumanly nasty artist (Robert Gorn / Axel Rex.) As a result, Albinus suffers a series of misfortunes at the caprice of Rex and the not unwilling Margot. The Berlin setting, German characters, and cruel world view set Laughter in the Dark somewhat apart from the bulk of Nabokov’s oeuvre.

 

 

Nabokov VladimirVladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins. The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri. Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses--the baffling mirror, the black velvet backdrop, the implied associations and traditions--which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.

 

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Several Perceptions by Angela Carter. New York. 1968. Simon & Schuster. hardcover. 154 pages. Jacket design by Paul Davis. 

 

 

several perceptionsFROM THE PUBLISHER -

 

 

   Center stage in Angela Carter’s unruly tale of the Flower Power Generation is Joseph - a decadent, disorientated rebel without a cause. A self-styled nihilist whose girlfriend has abandoned him, Joseph has decided to give up existing. But his concerned friends and neighbours have other plans. In an effort to join in the spirit of protest which motivates his contemporaries, Joseph frees a badger from the local zoo; sends a turd airmail to the President of the United States; falls in love with the mother of his best friend; and, accompanied by the strains of an old man’s violin, celebrates Christmas Eve in a bewildering state of sexual discovery. But has he found the Meaning of Life?

 


Carter AngelaAngela Carter (7 May 1940 – 16 February 1992) was an English novelist and journalist, known for her feminist, magical realism, picaresque and science fiction works. In 2008, The Times ranked Carter tenth, in their list of ‘The 50 greatest British writers since 1945’ Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature. She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in NOTHING SACRED (1982) that she ‘learnt what it is to be a woman and became radicalised.’ She wrote about her experiences there in articles for New Society and a collection of short stories, FIREWORKS: NINE PROFANE PIECES (1974), and evidence of her experiences in Japan can also be seen in THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN (1972). She then explored the United States, Asia and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son. As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in SHAKING A LEG. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and THE MAGIC TOYSHOP (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Woolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003). Her novel NIGHTS AT THE CIRCUS won the 1984 James Tait Black Memorial Prize for literature. At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives. Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer.

 

 

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Doom by William Gerhardie. New York. 1975. St Martin's Press. hardcover. 275 pages. Preface by Michael Holroyd.

 

 

doom william gerhardie st martinsFROM THE PUBLISHER -

 

 

   The novels of William Gerhardie have their unique place in the literature of the 20’s and 30’s, and when some of them became available again. Briefly, in the late 40’s they were acclaimed afresh by the critics: ‘He is a comic writer of genius. but his art is profoundly serious; underneath the shamelessness and the farce, his themes are the great ones. of love, grief and death, of intimations of joy and of our imprisonment in the world of flesh and time.’ - C. P. Snow, The Sunday Times. ‘The humour of life, the poetry of death and the release of the spirit - these things William Gerhardie describes as no prose writer has done before him. How did he become lost to view? How can we resurrect him ? Anthony Powell, Evelyn Waugh. C. P. Snow, Kingsley Amis, William Cooper - all acknowledge his influence. He is one of the immortals. He is our Gogol’s Overcoat. We all come out of him.’ - Olivia Manning, The Times. Now. after being out of print for two decades, all of Mr. Gerhardie’s works are to be re-published in revised, definitive editions with prefaces by Michael Holroyd, the third generation of critics to acknowledge the important position they hold in English fiction. Doom is perhaps William Gerhardie’s wittiest novel, Its central character is based on Beaverbrook; Lord Ottercove dominates a story which combines extravagant fantasy with Fleet Street satire, and his immense energy carries along’ an entourage that includes fictional portraits of several people whom Gerhardie knew in real life, having met some of them through Beaverbrook. Arnold Bennett, who appears, was to praise Doom for its ‘wild and brilliant originality.’

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

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Salman The Solitary by Yashar Kemal. London. 1997. 311 pages. hardcover. 1860463894. Jacket illustration by Chris Corr. Translated from the Turkish by Thilda Kemal. 

 

 

1860463894FROM THE PUBLISHER -

 

 

   Fleeing invading Russian troops with his family, Ismail Agha, a Kurdish peasant in Turkey, comes upon Salman, a small child left for dead at the roadside. At the urgings of his mother, who treats Salman’s wounds, Ismail agrees to take Salman with the family. When the family settles in a small village, Ismail raises Salman as his own son. Salman idolizes Ismail and imitates him in every way. Ismail dotes on the foundling, until his wife, Zero, becomes pregnant and bears him Mustafa. Suddenly, Salman is no longer the beloved only son, and a vicious rivalry blossoms between the boys. Salman’s obsessive devotion to Ismail grows; at the same time, his anger at being replaced in his father’s affections drives him to violence, first against Mustafa and, finally, against the very father whose love and approval he desperately needs. Chilling, bloody, relentlessly real, this highly emotional examination of the father-son bond and of jealousy between brothers is the work of a major Turkish novelist.

 

 

Kemal YasharYashar Kemal, (born in 1922) is a Turkish writer of Kurdish ethnic heritage. He is one of Turkey's leading writers. He has long been a candidate for the Nobel Prize in Literature, on the strength of Memed, My Hawk. As an outspoken intellectual, he does not hesitate to speak on sensitive issues. His activism resulted in a twenty-month suspended jail sentence, on charges of advocating separatism. Kemal, was born in Hemite (now Gökçedam), a hamlet in the province of Osmaniye in southern Turkey. His parents were from Van, who came into Çukurova during the First World War. Kemal had a difficult childhood because he lost his right eye due to a knife accident, when his father was slaughtering a sheep on Eid al-Adha, and had to witness as his father was stabbed to death by his adoptive son Yusuf while praying in a mosque when he was five years old. This traumatic experience left Kemal with a speech impediment, which lasted until he was twelve years old. At nine he started school in a neighboring village and continued his formal education in Kadirli, Osmaniye Province. Kemal was a locally noted bard before he started school, but was unappreciated by his widowed mother until he composed an elegy on the death of one of her eight brothers, all bandits. However, he forgot it and became interested in writing as a means to record his work when he questioned an itinerant peddler, who was doing his accounts. Ultimately, his village paid his way to university in Istanbul. He worked for a while for rich farmers, guarding their river water against other farmers' unauthorized irrigation. However, instead he taught the poor farmers how to steal the water undetected, by taking it at night. Later he worked as a letter-writer, then as a journalist, and finally as a novelist. He said that the Turkish police took his first two novels. When Yashar Kemal was visiting Akdamar Island in 1951, he saw the island's Holy Cross Church being destroyed. Using his contacts to the public, he helped stop destruction of the site. However, the church remained in a neglected state until 2005, when restoration by the Turkish government began. In 1952, Yashar Kemal married Thilda Serrero, a member of a prominent Sephardi Jewish family in Istanbul. Her grandfather, Jak Mandil Pasha, was the chief physician of the Ottoman Sultan Abdul Hamid II. She translated 17 of her husband’s works into the English language. Thilda died on January 17, 2001 (aged 78) from pulmonary complications at a hospital in Istanbul, and was laid to rest at Zincirlikuyu Cemetery. Thilda is survived by her husband, her son Rasit and a grandchild. Yashar Kemal remarried on August 1, 2002 with Ayse Semiha Baban, a lecturer for public relations at Bilgi University in Istanbul. She was educated at the American University of Beirut, Bosphorus University and Harvard University. He published his first book Agitlar (‘Ballads’) in 1943, which was a compilation of folkloric themes. This book brings to light many long forgotten rhymes and ballads and Kemal had started to collect these ballads at the age of 16. His first stories Bebek (‘The Baby’), Dükkanc? (‘The Shopkeeper’), Memet ile Memet (‘Memet and Memet’) were published in 1950. He had written his first story Pis Hikaye (‘The Dirty Story’) in 1944, while he was serving in the military, in Kayseri. Then he published his book of short stories Sari Sicak (‘Yellow Heat’) in 1952. The initial point of his works was the toil of the people of the Çukurova plains and he based the themes of his writings on the lives and sufferings of these people. Yashar Kemal has used the legends and stories of Anatolia extensively as the basis of his works. He received international acclaim with the publication of Memed, My Hawk (Turkish: Ince Memed) in 1955. In Ince Memed, Yashar Kemal criticizes the fabric of the society through a legendary hero, a protagonist, who flees to the mountains as a result of the oppression of the Aghas. One of the most famous living writers in Turkey, Kemal is noted for his command of the language and lyrical description of bucolic Turkish life. He has been awarded 19 literary prizes so far and nominated for the Nobel Prize in Literature in 1973. His 1955 novel Teneke was adapted into a theatrical play, which was staged for almost one year in Gothenburg, Sweden, in the country where he lived for about two years in the late 1970s. Italian composer Fabio Vacchi adapted the same novel with the original title into an opera of three acts, which premiered at the Teatro alla Scala in Milano, Italy in 2007. Kemal lays claim to having recreated Turkish as a literary language, by bringing in the vernacular, following Mustafa Kemal Atatürk's sterilization of Turkish by removing Persian and Arabic elements.

 

 

 

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Eva's Apples by William Gerhardi. New York. 1928. Duffield & Company. hardcover. 394 pages.

 

evas apples no dwFROM THE PUBLISHER -

   William Gerhardi’s third novel, published in England as JAZZ AND JASPER. The American publisher, Duffield, insisted on the title change claiming that the word ‘jazz’ had been ‘worn threadbare’ in the States. Gerhardi always wanted the title to be DOOM, which it eventually became in later editions in later editions. Despite its bleak title, DOOM is Gerhardie’s most wildly funny novel. It is the story of Frank Dickin, an impoverished young novelist and his involvement, on the one hand with an eccentric family of Russian emigres and in particular their beautiful daughter Eva - and, on the other with an all-powerful newspaper magnate, Lord Ottercove, who decides to take him up as a lost cause. The untameable comic pot-pourri also involves a mad English lord who plans to destroy the world, and, with an outrageous sleight of hand, that only Gerhardie could get away with, the novel slowly slips from social comedy toward apocalyptic speculation. ‘Amusing, brilliant and quite, quite mad.’ - Herald Tribune.

 

 

Gerhardi WilliamWilliam Alexander Gerhardie (1895-1977) was a British (Anglo-Russian) novelist and playwright. Gerhardie (or Gerhardi: he added the ‘e’ in later years as an affectation) was one of the most critically acclaimed English novelists of the 1920s (Evelyn Waugh told him ‘I have talent, but you have genius’). H.G Wells was a ferocious champion of his work. His first novel Futility, was written while he was at Cambridge and drew on his experiences in Russia fighting (or attempting to fight) the Bolsheviks, along with his childhood experiences visiting pre-revolutionary Russia. Some say that it was the first work in English to fully explore the theme of ‘waiting’ later made famous by Samuel Beckett in WAITING FOR GODOT, but it is probably more apt to recognize a common comic nihilism between those two figures. His next novel, THE POLYGLOTS is probably his masterpiece (although some argue for DOOM). Again it deals with Russia (Gerhardie was strongly influenced by the tragi-comic style of Russian writers such as Chekhov who he wrote a study of while in College). He collaborated with Hugh Kingsmill on the biography ‘The Casanova Fable’, his friendship with Hugh being both a source of conflict over women and a great intellectual stimulus. After World War II Gerhardie’s star waned, and he became unfashionable, and although he continued to write, he had nothing published after 1939. After a period of poverty-stricken oblivion, he lived to see two ‘definitive collected works’ published by Macdonald (in 1947-49 and then revised again in 1970-74). More recently, both Prion and New Directions Press have been reissuing his works. Asked how to say his name, he told The Literary Digest ‘Pronounced jer (as Ger in Gerald) hardy, with the accent on the a: jer-har’dy. This is the way I and my relatives pronounce it, tho I am told it is incorrect. Philologists are of the opinion that it should be pronounced with the g as in Gertrude. I believe they are right. I, however, cling to the family habit of mispronouncing it. But I do so without obstinacy. If the world made it worth my while I would side with the multitude.’ (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936).

 

 

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  • The Street by Ann Petry

    Zenosbooks - Zeno's Picks Nov 21, 2011 | 00:20 am

    The Street by Ann Petry  The Street by Ann Petry. Boston. 1946. Houghton Mifflin. A Literary Fellowship Prize 1st Novel. 436 pages.   FROM THE PUBLISHER -      THE STREET tells the poignant, often heartbreaking story of Lutie Johnson, a young black woman, and her spirited struggle to raise her son amid the violence, poverty, and racial dissonance of Harlem in the late 1940s. Originally published in 1946 and hailed by critics as a masterwork, The Street was Ann Petry's first novel, a beloved[…]

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  • Roderick Random by Tobias Smollett

    Zenosbooks - Zeno's Picks Nov 20, 2011 | 23:59 pm

    Roderick Random by Tobias Smollett Roderick Random by Tobias Smollett. New York. 1995. Penguin Books. Edited & With An Introduction and Notes By David Blewett. 480 pages. The cover shows a detail of Lord George Graham in His Cabin by William Hogarth in the National Maritime Museum, London. 9780140433326.   RODERICK RANDOM was published in 1748 to immediate acclaim, and established Smollett among the most popular of eighteenth-century novelists. In this picaresque tale, Roderick Random suffers misfortune after misfortune as he drifts from one pummeling to another[…]

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  • Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul

    Zenosbooks - Zeno's Picks Nov 20, 2011 | 23:50 pm

    Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul. New York. 1992. Free Press. 640 pages. Cover design by Michael Langenstein. 0029277256.   The pitfalls of rationalism and and the rise of bureaucracy.   FROM THE PUBLISHER -        In a wide-ranging, provocative anatomy of modern society and its origins, novelist and historian John Ralston Saul explores the reason for our deepening sense of crisis and confusion. Throughout the Western world we talk endlessly[…]

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Words Without Borders

New York Review of Books

  • Night Terrors

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Night Terrors If, like me, you’re a baby boomer who pleaded as a child to stay up with the big kids to watch The Twilight Zone, you might remember daring yourself to make it all the way through without taking cover behind[…]

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  • Grand Illusions

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Grand Illusions In Radical Hope: Ethics in the Face of Cultural Devastation (2006), Jonathan Lear writes of the intellectual trauma of the Crow Indians. Forced to move in the mid-nineteenth century from a nomadic to a settled existence, they catastrophically lost not[…]

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  • The Revival of Church Sanctuary

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    The Revival of Church Sanctuary Midway through last year, half a dozen Latin American immigrants scattered across the United States received “notices of intent to fine” from US Immigration and Customs Enforcement (ICE) for failing to leave the country. ICE has long had the authority[…]

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  • Where Health Care Is a Human Right

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Where Health Care Is a Human Right In 2004 the CBC—Canada’s publicly funded broadcaster—produced a TV competition called The Greatest Canadian, which sought to crown a national figure, living or dead, with the title. (The BBC had produced a similar program in the UK two years earlier.)[…]

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  • Things as They Are

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Things as They Are In 1966 the Museum of Modern Art held a retrospective devoted to Dorothea Lange—its first-ever solo exhibition of work by a female photographer. Lange’s photographs have now become part of our collective memory of the Great Depression. Migrant Mother (1936)—a[…]

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  • An Incandescent Inanity

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    An Incandescent Inanity Nikolai Gogol (1809–1852), Russia’s greatest comic writer, thoroughly baffled his contemporaries. Strange, peculiar, wacky, weird, bizarre, and other words indicating enigmatic oddity recur in descriptions of him. “What an intelligent, queer, and sick creature!” remarked Turgenev; another major prose writer,[…]

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  • Learning to Grieve

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Learning to Grieve “Maybe I didn’t die properly,” says Jamie (played by Alan Rickman) in Anthony Minghella’s early film Truly, Madly, Deeply. “Maybe that’s why I can come back.” His partner, Nina (Juliet Stevenson), has been driven mad with grief, following his sudden[…]

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  • China’s Clampdown on Hong Kong

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    China’s Clampdown on Hong Kong As the 1997 handover of Hong Kong from Britain to China approached, commentary in the English-language press about the future of the colony was written in the elegiac style of obituaries, extolling the past and lamenting the future. In June[…]

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  • Query

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    I am writing the biography of Morton Sobell, and would like to hear from anyone who knew him. David Evanier 917-671-7612 devanier@earthlink.net

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  • The Representative

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    The Representative After the election of 2018, the US Congress became the most racially and ethnically diverse it had ever been. The freshman class contained a record number of incoming women (thirty-six), including the four young progressives who came to be called[…]

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  • Measuring Slavery’s Impact

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    To the Editors: Fara Dabhoiwala in “Speech and Slavery in the West Indies” [NYR, August 20] makes two claims that cannot be correct. As one of the scholars working on the www .slavevoyages.org site, which he kindly references, I would[…]

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  • Boston

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    When I first moved to this city to take a job, and the snows began to fall, a slow sadness took hold of me. Someone left a tiny pencil drawing of a sailboat on the ceiling of my bedroom, and[…]

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  • Seeing Too Clearly

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Seeing Too Clearly Not long ago, Hari Kunzru was asked in an interview, “What is the worst-case scenario for the future?” He answered with brutal lucidity: The US becomes an autocracy, and devolves into a weak and fractious patchwork of jurisdictions run by[…]

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  • Max Weber’s Agon

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    To the Editors: We appreciate Peter E. Gordon’s thoughtful review of Charisma and Disenchantment, our edition of Max Weber’s “vocation lectures” [NYR, June 11], but of course we’re not writing simply to say thank you. For all the care and[…]

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  • Rashly Filling the Void

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    In an essay about his landmark novel, Native Son, Richard Wright argued that while the racial identity of his protagonist was essential to the storyline, it was not exclusively tied to the book’s broader meaning. True, Bigger Thomas—that brooding, brutal,[…]

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  • Don’t Wish for a Restoration

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    During the last few years—and increasingly during the last few months—Americans have more and more come to resemble the passengers on the steamboat Fidèle in Herman Melville’s The Confidence Man. A sign hanging from the barbershop bulkhead says “No Trust.”[…]

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