All of them wonderful. The MacArthur Fellows Program awards unrestricted fellowships to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction. The MacArthur Fellowship is a $625,000, no-strings-attached grant for individuals who have shown exceptional creativity in their work and the promise to do more. Learn more at www.macfound.org/macfellow
Among others, this year: Maggie Nelson, Claudia Rankine and Gene Luen Yang.
Maggie Nelson is a writer forging a new mode of nonfiction that transcends the divide between the personal and the intellectual.
Claudia Rankine is a poet illuminating the emotional and psychic tensions that mark the experiences of many living in twenty-first-century America.
Gene Luen Yang is a graphic novelist and cartoonist whose work for young adults demonstrates the potential of comics to broaden our understanding of diverse cultures and people.
To celebrate the publication of John le Carré’s first memoir, Tom Hiddleston reads from The Night Manager. Don’t miss other leading actors reading le Carré’s work, and an exclusive extract from The Pigeon Tunnel: Stories from My Life (Penguin), at theguardian.com on 3 September
I don’t regret my alcoholism anymore. Before, I left California my youngest son, Joel, came to breakfast. The same son I used to steal from, who had told me I wasn’t his mother. I cooked cheese blintzes; we drank coffee and read the paper, muttering to each other about Ricky Henderson, George Bush. Then he went to work. He kissed me and said So long, Ma. So long, I said.
All over the world mothers are having breakfast with their sons, seeing them off at the door. Can they know the gratitude I felt, standing there, waving? The reprieve. (From “So Long”)
We are honoured to welcome author Don DeLillo in the run-up to the launch of his latest novel Zero K.
Don DeLillo is the author of fifteen novels, including Zero K, Underworld, Falling Man, White Noise, and Libra. He has won the National Book Award, the PEN/Faulkner Award for Fiction, the Jerusalem Prize for his complete body of work, and the William Dean Howells Medal from the American Academy of Arts and Letters. In 2010, he was awarded the PEN/Saul Bellow Prize. The Angel Esmeralda was a finalist for the 2011 Story Prize and the PEN/Faulkner Award for Fiction. In 2012, DeLillo received the Carl Sandburg Literary Award for his body of work.
Seis anos depois da morte de José Saramago, apresentamos o primeiro volume de Fragmentos de «José e Pilar», um conjunto de inéditos das 240 horas de filmagem captadas pela equipa do realizador Miguel Gonçalves Mendes.
THERE WERE film majors in my bed— they talked about film. There were poets, coxswains, guys trying to grow beards.
“Kids get really scared when their dad grows a beard,” I said.
Finally, I had an audience. I helped a pitcher understand the implications of his team’s hazing ritual. I encouraged indecisive dancer-anthropologists to double major. When a guy apologized for being sweaty, I got him a small towel. I made people feel good.
Then I took a break. Then I forgot that I was taking a break. Spring was here. Jake was here. Also Josh. One dancer-anthropologist dropped anthropology, just did dance. He danced with honors.
“Mazel tov,” I said.
The bed moved. Movers moved it. Movers asked what my dad did, why he wasn’t moving the bed.
New guys came to the bed. New guys had been in the Gulf War, had been bisexual, had taken out teeth, had taken out ads. Musical types left CDs with their names markered on— I kept a pile. I was careful not to smudge them, scratch them. (Scratch that, I wasn’t careful.)
“So many musicians in this city,” I observed, topless.
Boxer shorts were like laundry even on their bodies. Guys burrowed down for not long enough, popped up, smiled.
Did I have something? Did I have anything?
Something, anything, went in the trash, except one, which didn’t. One hadn’t gone on in the first place.
After, cell phones jingled: Be Bop, Mariachi Medley, Chicken Dance, Die Alone.
Nervous, I felt nervous. There was mariachi in the trains, or else it was just one guy playing “La Bamba.” I slow-danced into clinic waiting rooms. Receptionists told me to relax and try to enjoy the weekend, since we wouldn’t know anything till Monday. Sunday I lost it, banged my face against the bed. Be easy, girl, I thought. Be bop. Something was definitely wrong with me— I never called myself “girl.” I played CDs, but CDs by artists who had already succeeded. They had succeeded for a reason. They weren’t wasting time in my bed. One did pass through the bed, to brag. He had been divorced, had met Madonna.
He asked, “Is this what women are like now?”
Schiff, Rebecca (2016-04-12). The Bed Moved: Stories (Kindle Locations 79-90). Knopf Doubleday Publishing Group. Kindle Edition.
James Joyce reading an excerpt from the Aeolus episode. Recorded in 1924.
He began: — Mr Chairman, ladies and gentlemen: Great was my admiration in listening to the remarks addressed to the youth of Ireland a moment since by my learned friend. It seemed to me that I had been transported into a country far away from this country, into an age remote from this age, that I stood in ancient Egypt and that I was listening to the speech of some highpriest of that land addressed to the youthful Moses. His listeners held their cigarettes poised to hear, their smoke ascending in frail stalks that flowered with his speech. And let our crooked smokes. Noble words coming. Look out. Could you try your hand at it yourself? — And it seemed to me that I heard the voice of that Egyptian highpriest raised in a tone of like haughtiness and like pride. I heard his words and their meaning was revealed to me.
From the Fathers
It was revealed to me that those things are good which yet are corrupted which neither if they were supremely good nor unless they were good could be corrupted. Ah, curse you! That's saint Augustine. — Why will you jews not accept our culture, our religion and our language? You are a tribe of nomad herdsmen; we are a mighty people. You have no cities nor no wealth: our cities are hives of humanity and our galleys, trireme and quadrireme, laden with all manner merchandise furrow the waters of the known globe. You have but emerged from primitive conditions: we have a literature, a priesthood, an agelong history and a polity. Nile. Child, man, effigy. By the Nilebank the babemaries kneel, cradle of bulrushes: a man supple in combat: stonehorned, stonebearded, heart of stone. — You pray to a local and obscure idol: our temples, majestic and mysterious, are the abodes of Isis and Osiris, of Horus and Ammon Ra. Yours serfdom, awe and humbleness: ours thunder and the seas. Israel is weak and few are her children: Egypt is an host and terrible are her arms. Vagrants and daylabourers are you called: the world trembles at our name. A dumb belch of hunger cleft his speech. He lifted his voice above it boldly: — But, ladies and gentlemen, had the youthful Moses listened to and accepted that view of life, had he bowed his head and bowed his will and bowed his spirit before that arrogant admonition he would never have brought the chosen people out of their house of bondage nor followed the pillar of the cloud by day. He would never have spoken with the Eternal amid lightnings on Sinai's mountaintop nor ever have come down with the light of inspiration shining in his countenance and bearing in his arms the tables of the law, graven in the language of the outlaw.
First photograph features Joyce and Sylvia Beach outside the door of Shakespeare and Company on the Rue de l'Odéon. Paris, 1920.
In a new video, Even Puschak talks about the rise of the serialization genre, from Dickens to Flash Gordon to General Hospital to Star Wars. Now that our entertainment is increasingly serialized, he argues that audiences have a unique opportunity to shape what we watch. (Case in point: the increased importance of non-white and non-male characters in The Force Awakens and Rogue One.)