
I'm loving the fact that the Penguin Classics edition of Daphne du Maurier's Don't Look Now on Amazon exhorts you to "LOOK INSIDE NOW!"
Sitting for Auerbach aligns one with Mornington Crescent. We become territory. He avails himself of our features, much as he summons up the complexions of places. But where outdoors, for convenience and reference, he makes sketches, in the studio he works directly on paintings or drawings. The sitter occupies a kitchen chair, its position fixed in front of the sink and beneath the stairs. The session begins. As in this year’s Self-Portrait (pencil, acrylic, graphite, crayon and Indian ink), the painter narrows his eyes and lifts his chin and grimaces, like Edgar in King Lear, spotting choughs from the clifftop. Usually we talk for the first hour. Then, after a five-second break, he works in a silence interrupted only by grunts and mutterings and the occasional correction of something said in the preceding stream of comment and gossip, literary and otherwise. Whether working in pencil or crayon or in paint alone, there is, throughout, a concentration on the fluidity of appearances and the slow, tantalisingly and frustratingly slow, processes of realisation. In these sittings it happens to be me, but for Julia Auerbach, Jake Auerbach, Catherine Lampert, David Landau (and the predecessors, most notably Gerda, Estella Olive West and Juliet Yardley Mills) – for all of us – the role is practically the same. We are there to enable him to perform. We keep him occupied.William Feaver on Frank Auerbach in this week's London Review of Books. Feaver has a new book out on Auerbach.
A prominent Holocaust survivor has called on the Conservative party to reconsider its alliance with Michal Kaminski, the Polish MEP who leads the Conservatives in the European parliament, citing his "unacceptable" views.Sadly, I think a line has been crossed. My hope is that this ground can be recovered, and the history of the Holocaust protected from the sullying that it is currently threatened with.
Helfgott, 78, said Kaminski's attempts to compare the massacre of 1,600 Jews in Jedwabne in 1941 with acts of collaboration with the Soviet army by individual Jews were "not acceptable".
"These views would be anathema to any Jew or any decent person who knows about the Holocaust," he said. "This is not a direct denial of the Holocaust, but in a sense it is accusing the victims of being no different from the perpetrators. There is a line here which must not be crossed."
If W.G. Sebald's The Emigrants suggested there are still new ways of writing about exile and the Holocaust, The Land of Green Plums suggests similar possibilities for the literature of the Iron Curtain.
Literary ReviewThis is taken from the back cover of the Granta edition of Müller's novel. It's one of those astonishingly perfect coincidences that have obviously been waiting for you all along. Definitely time for some 'extra-curricular' reading..
Pete Ayrton, who has published Müller in translation at Serpent's Tail, said he was "absolutely thrilled" at the news. "It's terrific and I think it shows the Nobel prize are doing their job to bring the writings of wonderful, neglected writers, who are underappreciated in the Anglo Saxon world, to our attention" he said. "She is from the German minority in Romania and from that experience, she writes extraordinary accounts of being an ethnic minority in a totalitarian regime. But this is not overtly political writing; it's very poetic and elliptical. She's an extraordinary writer."A reasonable assessment of the Academy's decision, you would think, as reported in the Guardian's story. But what else do they ask in response to the decision? Whether the Swedish Academy is too 'Euro-centric'. Read Ayrton closely and think long about the implications what he says has for the British writer; how in general (excluding specific individuals) British writers have simply not had to face the tremendous upheavals of their European counterparts. This should never detract from the stature of British writers, but it certainly explains something in terms of a specific intensity in European novels that derives from experiences on the European mainland.
The rings of Saturn consist of ice crystals and probably meteorite particles describing circular orbits around the planet's equator. In all likelihood these are fragments of former moon that was too close to the planet and was destroyed by its tidal effect (- Roche limit).(An epigraph from W.G. Sebald's The Rings of Saturn.)
Brockhaus Encyclopaedia