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Posts mit dem Label American werden angezeigt. Alle Posts anzeigen

Montag, 11. Februar 2013

Sylvia Plaths 50. Todestag

Sylvia Plath (October 27, 1932 – February 11, 1963) was an American poet, novelist and short story writer who commited suicide after having suffered from depression.

Wikipedia

Photograph from Wikipedia


‘The world itself is a bad dream’
On the fiftieth anniversary of its publication, the cool cynicism and snobbery of Sylvia Plath’s The Bell Jar has gone mainstream.









Erzählungen von Sylvia Plath
Mehr als eine Märtyrerin
Bettina Hartz, Literatur Samstag, 9. Februar 2013, Neue Zürcher Zeitung

Das Schaffen der Dichterin Sylvia Plath (1932–1963) wurde lange primär im Zeichen ihres tragischen Suizids wahrgenommen. Die autobiografische Lesart droht aber den Blick auf das literarische Potenzial ihres Werks zu verstellen.

Donnerstag, 31. Januar 2013

Norman Mailers 90th birthday

Norman Kingsley Mailer (January 31, 1923 – November 10, 2007) was an American novelist, journalist, essayist, playwright, film maker, actor and political candidate. His first novel was The Naked and the Dead published in 1948. His best work was widely considered to be The Executioner's Song, which was published in 1979, and for which he won one of his two Pulitzer Prizes. In addition to the Pulitzer Prize, Mailer's book Armies of the Night was awarded the National Book Award.

Along with the likes of Truman Capote, Hunter S. Thompson and Tom Wolfe, Mailer is considered an innovator of creative nonfiction, a genre sometimes called New Journalism, which superimposes the style and devices of literary fiction onto fact-based journalism.

In 1955, Mailer and three others founded The Village Voice, an arts and politics oriented weekly newspaper distributed in Greenwich Village.

Wikipedia

Abbildung aus Wikipedia
















Dienstag, 29. Januar 2013

Robert Frosts 50. Todestag

Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech.[1] His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. One of the most popular and critically respected American poets of his generation, Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.

Wikipedia

Abbildung aus Wikipedia






 

 

 

Samstag, 14. Juli 2012

Poems by Emily Dickinson


3 Poems by Emily Dickinson (December 10, 1830 – May 15, 1886)


All the letters I can write
Are not fair as this –
Syllables of Velvet –
Sentences of Plush,
Depths of Ruby, undrained,
Hid, Lip, for Thee –
Play it were a Humming Bird –
And just sipped – me –

(1862)



This is my letter to the World
That never wrote to Me –
The simple News that Nature told,
with tender Majesty.
Her Message is committed
To Hands I cannot see –
For love of Her – Sweet – countrymen –
Judge tenderly – of Me

(1862)



This was a Poet – It is That
Distills amazing sense
From ordinary Meanings –
And Attar so immense

From the familiar species
That perished by the Door –
We wonder it was not Ourselves
Arrested it – before –

Of Pictures, the Discloser –
The Poet – it is He –
Entitles Us – by Contrast –
To ceaseless Poverty К

Of Portion – so unconscious –
The Robbing – could not harm –
Himself – to Him – a Fortune –
Exterior – to Time –

(ca. 1862)



Donnerstag, 12. Juli 2012

Henry Thoreaus 195. Geburtstag

Henry David Thoreau,  12.7.1817 - 6.5.1862, war ein US-amerikanischer Schriftsteller und Philosoph.

Wikipedia

The Walden Woods Project

Walden



A chapter from:

WALDEN,
and
ON THE DUTY OF CIVIL DISOBEDIENCE

By Henry David Thoreau

Reading

With a little more deliberation in the choice of their pursuits, all men would perhaps become essentially students and observers, for certainly their nature and destiny are interesting to all alike. In accumulating property for ourselves or our posterity, in founding a family or a state, or acquiring fame even, we are mortal; but in dealing with truth we are immortal, and need fear no change nor accident. The oldest Egyptian or Hindoo philosopher raised a corner of the veil from the statue of the divinity; and still the trembling robe remains raised, and I gaze upon as fresh a glory as he did, since it was I in him that was then so bold, and it is he in me that now reviews the vision. No dust has settled on that robe; no time has elapsed since that divinity was revealed. That time which we really improve, or which is improvable, is neither past, present, nor future.
My residence was more favorable, not only to thought, but to serious reading, than a university; and though I was beyond the range of the ordinary circulating library, I had more than ever come within the influence of those books which circulate round the world, whose sentences were first written on bark, and are now merely copied from time to time on to linen paper. Says the poet Mîr Camar Uddîn Mast, "Being seated, to run through the region of the spiritual world; I have had this advantage in books. To be intoxicated by a single glass of wine; I have experienced this pleasure when I have drunk the liquor of the esoteric doctrines." I kept Homer's Iliad on my table through the summer, though I looked at his page only now and then. Incessant labor with my hands, at first, for I had my house to finish and my beans to hoe at the same time, made more study impossible. Yet I sustained myself by the prospect of such reading in future. I read one or two shallow books of travel in the intervals of my work, till that employment made me ashamed of myself, and I asked where it was then that I lived.
The student may read Homer or Æschylus in the Greek without danger of dissipation or luxuriousness, for it implies that he in some measure emulate their heroes, and consecrate morning hours to their pages. The heroic books, even if printed in the character of our mother tongue, will always be in a language dead to degenerate times; and we must laboriously seek the meaning of each word and line, conjecturing a larger sense than common use permits out of what wisdom and valor and generosity we have. The modern cheap and fertile press, with all its translations, has done little to bring us nearer to the heroic writers of antiquity. They seem as solitary, and the letter in which they are printed as rare and curious, as ever. It is worth the expense of youthful days and costly hours, if you learn only some words of an ancient language, which are raised out of the trivialness of the street, to be perpetual suggestions and provocations. It is not in vain that the farmer remembers and repeats the few Latin words which he has heard. Men sometimes speak as if the study of the classics would at length make way for more modern and practical studies; but the adventurous student will always study classics, in whatever language they may be written and however ancient they may be. For what are the classics but the noblest recorded thoughts of man? They are the only oracles which are not decayed, and there are such answers to the most modern inquiry in them as Delphi and Dodona never gave. We might as well omit to study Nature because she is old. To read well, that is, to read true books in a true spirit, is a noble exercise, and one that will task the reader more than any exercise which the customs of the day esteem. It requires a training such as the athletes underwent, the steady intention almost of the whole life to this object. Books must be read as deliberately and reservedly as they were written. It is not enough even to be able to speak the language of that nation by which they are written, for there is a memorable interval between the spoken and the written language, the language heard and the language read. The one is commonly transitory, a sound, a tongue, a dialect merely, almost brutish, and we learn it unconsciously, like the brutes, of our mothers. The other is the maturity and experience of that; if that is our mother tongue, this is our father tongue, a reserved and select expression, too significant to be heard by the ear, which we must be born again in order to speak. The crowds of men who merely spoke the Greek and Latin tongues in the Middle Ages were not entitled by the accident of birth to read the works of genius written in those languages; for these were not written in that Greek or Latin which they knew, but in the select language of literature. They had not learned the nobler dialects of Greece and Rome, but the very materials on which they were written were waste paper to them, and they prized instead a cheap contemporary literature. But when the several nations of Europe had acquired distinct though rude written languages of their own, sufficient for the purposes of their rising literatures, then first learning revived, and scholars were enabled to discern from that remoteness the treasures of antiquity. What the Roman and Grecian multitude could not hear, after the lapse of ages a few scholars read, and a few scholars only are still reading it.
However much we may admire the orator's occasional bursts of eloquence, the noblest written words are commonly as far behind or above the fleeting spoken language as the firmament with its stars is behind the clouds. There are the stars, and they who can may read them. The astronomers forever comment on and observe them. They are not exhalations like our daily colloquies and vaporous breath. What is called eloquence in the forum is commonly found to be rhetoric in the study. The orator yields to the inspiration of a transient occasion, and speaks to the mob before him, to those who can hear him; but the writer, whose more equable life is his occasion, and who would be distracted by the event and the crowd which inspire the orator, speaks to the intellect and health of mankind, to all in any age who can understand him.
No wonder that Alexander carried the Iliad with him on his expeditions in a precious casket. A written word is the choicest of relics. It is something at once more intimate with us and more universal than any other work of art. It is the work of art nearest to life itself. It may be translated into every language, and not only be read but actually breathed from all human lips;—not be represented on canvas or in marble only, but be carved out of the breath of life itself. The symbol of an ancient man's thought becomes a modern man's speech. Two thousand summers have imparted to the monuments of Grecian literature, as to her marbles, only a maturer golden and autumnal tint, for they have carried their own serene and celestial atmosphere into all lands to protect them against the corrosion of time. Books are the treasured wealth of the world and the fit inheritance of generations and nations. Books, the oldest and the best, stand naturally and rightfully on the shelves of every cottage. They have no cause of their own to plead, but while they enlighten and sustain the reader his common sense will not refuse them. Their authors are a natural and irresistible aristocracy in every society, and, more than kings or emperors, exert an influence on mankind. When the illiterate and perhaps scornful trader has earned by enterprise and industry his coveted leisure and independence, and is admitted to the circles of wealth and fashion, he turns inevitably at last to those still higher but yet inaccessible circles of intellect and genius, and is sensible only of the imperfection of his culture and the vanity and insufficiency of all his riches, and further proves his good sense by the pains which he takes to secure for his children that intellectual culture whose want he so keenly feels; and thus it is that he becomes the founder of a family.
Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no transcript of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a transcript. Homer has never yet been printed in English, nor Æschylus, nor Virgil even—works as refined, as solidly done, and as beautiful almost as the morning itself; for later writers, say what we will of their genius, have rarely, if ever, equalled the elaborate beauty and finish and the lifelong and heroic literary labors of the ancients. They only talk of forgetting them who never knew them. It will be soon enough to forget them when we have the learning and the genius which will enable us to attend to and appreciate them. That age will be rich indeed when those relics which we call Classics, and the still older and more than classic but even less known Scriptures of the nations, shall have still further accumulated, when the Vaticans shall be filled with Vedas and Zendavestas and Bibles, with Homers and Dantes and Shakespeares, and all the centuries to come shall have successively deposited their trophies in the forum of the world. By such a pile we may hope to scale heaven at last.
The works of the great poets have never yet been read by mankind, for only great poets can read them. They have only been read as the multitude read the stars, at most astrologically, not astronomically. Most men have learned to read to serve a paltry convenience, as they have learned to cipher in order to keep accounts and not be cheated in trade; but of reading as a noble intellectual exercise they know little or nothing; yet this only is reading, in a high sense, not that which lulls us as a luxury and suffers the nobler faculties to sleep the while, but what we have to stand on tip-toe to read and devote our most alert and wakeful hours to.
I think that having learned our letters we should read the best that is in literature, and not be forever repeating our a-b-abs, and words of one syllable, in the fourth or fifth classes, sitting on the lowest and foremost form all our lives. Most men are satisfied if they read or hear read, and perchance have been convicted by the wisdom of one good book, the Bible, and for the rest of their lives vegetate and dissipate their faculties in what is called easy reading. There is a work in several volumes in our Circulating Library entitled "Little Reading," which I thought referred to a town of that name which I had not been to. There are those who, like cormorants and ostriches, can digest all sorts of this, even after the fullest dinner of meats and vegetables, for they suffer nothing to be wasted. If others are the machines to provide this provender, they are the machines to read it. They read the nine thousandth tale about Zebulon and Sophronia, and how they loved as none had ever loved before, and neither did the course of their true love run smooth—at any rate, how it did run and stumble, and get up again and go on! how some poor unfortunate got up on to a steeple, who had better never have gone up as far as the belfry; and then, having needlessly got him up there, the happy novelist rings the bell for all the world to come together and hear, O dear! how he did get down again! For my part, I think that they had better metamorphose all such aspiring heroes of universal noveldom into man weather-cocks, as they used to put heroes among the constellations, and let them swing round there till they are rusty, and not come down at all to bother honest men with their pranks. The next time the novelist rings the bell I will not stir though the meeting-house burn down. "The Skip of the Tip-Toe-Hop, a Romance of the Middle Ages, by the celebrated author of 'Tittle-Tol-Tan,' to appear in monthly parts; a great rush; don't all come together." All this they read with saucer eyes, and erect and primitive curiosity, and with unwearied gizzard, whose corrugations even yet need no sharpening, just as some little four-year-old bencher his two-cent gilt-covered edition of Cinderella—without any improvement, that I can see, in the pronunciation, or accent, or emphasis, or any more skill in extracting or inserting the moral. The result is dulness of sight, a stagnation of the vital circulations, and a general deliquium and sloughing off of all the intellectual faculties. This sort of gingerbread is baked daily and more sedulously than pure wheat or rye-and-Indian in almost every oven, and finds a surer market.
The best books are not read even by those who are called good readers. What does our Concord culture amount to? There is in this town, with a very few exceptions, no taste for the best or for very good books even in English literature, whose words all can read and spell. Even the college-bred and so-called liberally educated men here and elsewhere have really little or no acquaintance with the English classics; and as for the recorded wisdom of mankind, the ancient classics and Bibles, which are accessible to all who will know of them, there are the feeblest efforts anywhere made to become acquainted with them. I know a woodchopper, of middle age, who takes a French paper, not for news as he says, for he is above that, but to "keep himself in practice," he being a Canadian by birth; and when I ask him what he considers the best thing he can do in this world, he says, beside this, to keep up and add to his English. This is about as much as the college-bred generally do or aspire to do, and they take an English paper for the purpose. One who has just come from reading perhaps one of the best English books will find how many with whom he can converse about it? Or suppose he comes from reading a Greek or Latin classic in the original, whose praises are familiar even to the so-called illiterate; he will find nobody at all to speak to, but must keep silence about it. Indeed, there is hardly the professor in our colleges, who, if he has mastered the difficulties of the language, has proportionally mastered the difficulties of the wit and poetry of a Greek poet, and has any sympathy to impart to the alert and heroic reader; and as for the sacred Scriptures, or Bibles of mankind, who in this town can tell me even their titles? Most men do not know that any nation but the Hebrews have had a scripture. A man, any man, will go considerably out of his way to pick up a silver dollar; but here are golden words, which the wisest men of antiquity have uttered, and whose worth the wise of every succeeding age have assured us of;—and yet we learn to read only as far as Easy Reading, the primers and class-books, and when we leave school, the "Little Reading," and story-books, which are for boys and beginners; and our reading, our conversation and thinking, are all on a very low level, worthy only of pygmies and manikins.
I aspire to be acquainted with wiser men than this our Concord soil has produced, whose names are hardly known here. Or shall I hear the name of Plato and never read his book? As if Plato were my townsman and I never saw him—my next neighbor and I never heard him speak or attended to the wisdom of his words. But how actually is it? His Dialogues, which contain what was immortal in him, lie on the next shelf, and yet I never read them. We are underbred and low-lived and illiterate; and in this respect I confess I do not make any very broad distinction between the illiterateness of my townsman who cannot read at all and the illiterateness of him who has learned to read only what is for children and feeble intellects. We should be as good as the worthies of antiquity, but partly by first knowing how good they were. We are a race of tit-men, and soar but little higher in our intellectual flights than the columns of the daily paper.
It is not all books that are as dull as their readers. There are probably words addressed to our condition exactly, which, if we could really hear and understand, would be more salutary than the morning or the spring to our lives, and possibly put a new aspect on the face of things for us. How many a man has dated a new era in his life from the reading of a book! The book exists for us, perchance, which will explain our miracles and reveal new ones. The at present unutterable things we may find somewhere uttered. These same questions that disturb and puzzle and confound us have in their turn occurred to all the wise men; not one has been omitted; and each has answered them, according to his ability, by his words and his life. Moreover, with wisdom we shall learn liberality. The solitary hired man on a farm in the outskirts of Concord, who has had his second birth and peculiar religious experience, and is driven as he believes into the silent gravity and exclusiveness by his faith, may think it is not true; but Zoroaster, thousands of years ago, travelled the same road and had the same experience; but he, being wise, knew it to be universal, and treated his neighbors accordingly, and is even said to have invented and established worship among men. Let him humbly commune with Zoroaster then, and through the liberalizing influence of all the worthies, with Jesus Christ himself, and let "our church" go by the board.
We boast that we belong to the Nineteenth Century and are making the most rapid strides of any nation. But consider how little this village does for its own culture. I do not wish to flatter my townsmen, nor to be flattered by them, for that will not advance either of us. We need to be provoked—goaded like oxen, as we are, into a trot. We have a comparatively decent system of common schools, schools for infants only; but excepting the half-starved Lyceum in the winter, and latterly the puny beginning of a library suggested by the State, no school for ourselves. We spend more on almost any article of bodily aliment or ailment than on our mental aliment. It is time that we had uncommon schools, that we did not leave off our education when we begin to be men and women. It is time that villages were universities, and their elder inhabitants the fellows of universities, with leisure—if they are, indeed, so well off—to pursue liberal studies the rest of their lives. Shall the world be confined to one Paris or one Oxford forever? Cannot students be boarded here and get a liberal education under the skies of Concord? Can we not hire some Abelard to lecture to us? Alas! what with foddering the cattle and tending the store, we are kept from school too long, and our education is sadly neglected. In this country, the village should in some respects take the place of the nobleman of Europe. It should be the patron of the fine arts. It is rich enough. It wants only the magnanimity and refinement. It can spend money enough on such things as farmers and traders value, but it is thought Utopian to propose spending money for things which more intelligent men know to be of far more worth. This town has spent seventeen thousand dollars on a town-house, thank fortune or politics, but probably it will not spend so much on living wit, the true meat to put into that shell, in a hundred years. The one hundred and twenty-five dollars annually subscribed for a Lyceum in the winter is better spent than any other equal sum raised in the town. If we live in the Nineteenth Century, why should we not enjoy the advantages which the Nineteenth Century offers? Why should our life be in any respect provincial? If we will read newspapers, why not skip the gossip of Boston and take the best newspaper in the world at once?—not be sucking the pap of "neutral family" papers, or browsing "Olive Branches" here in New England. Let the reports of all the learned societies come to us, and we will see if they know anything. Why should we leave it to Harper & Brothers and Redding & Co. to select our reading? As the nobleman of cultivated taste surrounds himself with whatever conduces to his culture—genius—learning—wit—books— paintings—statuary—music—philosophical instruments, and the like; so let the village do—not stop short at a pedagogue, a parson, a sexton, a parish library, and three selectmen, because our Pilgrim forefathers got through a cold winter once on a bleak rock with these. To act collectively is according to the spirit of our institutions; and I am confident that, as our circumstances are more flourishing, our means are greater than the nobleman's. New England can hire all the wise men in the world to come and teach her, and board them round the while, and not be provincial at all. That is the uncommon school we want. Instead of noblemen, let us have noble villages of men. If it is necessary, omit one bridge over the river, go round a little there, and throw one arch at least over the darker gulf of ignorance which surrounds us.

Freitag, 6. Juli 2012

William Faulkners 90. Todestag

William Cuthbert Faulkner,  25. 9. 1897 - 6. 7. 1962, eigentlich William Cuthbert Falkner, war ein US-amerikanischer Schriftsteller. Er erhielt 1950 – nachträglich für 1949 – den Nobelpreis für Literatur. Faulkner gilt als bedeutendster amerikanischer Romancier des 20. Jahrhunderts.

Wikipedia








Freitag, 8. Juni 2012

Vor 40 Jahren starb Kenneth Patchen

Kenneth Patchen (December 13, 1911 – January 8, 1972) was an American poet and novelist.

(Dieser Eintrag hätte am 8. Jänner erfolgen sollen - jetzt folgt er ein halbes Jahr später, aber nicht zu spät, nach.)












Mittwoch, 30. November 2011

Samuel Langhorne Clemens hat Geburtstag

The  American writer, known under his pen name Mark Twain, was born November 30, 1835 and died April 21, 1910.

Wikipedia

Mark Twain Project


A SIMPLIFIED ALPHABET

(This article, written during the autumn of 1899, was about the last writing done by Mark Twain on any impersonal subject.)
I have had a kindly feeling, a friendly feeling, a cousinly feeling toward Simplified Spelling, from the beginning of the movement three years ago, but nothing more inflamed than that. It seemed to me to merely propose to substitute one inadequacy for another; a sort of patching and plugging poor old dental relics with cement and gold and porcelain paste; what was really needed was a new set of teeth. That is to say, a new ALPHABET.
The heart of our trouble is with our foolish alphabet. It doesn't know how to spell, and can't be taught. In this it is like all other alphabets except one—the phonographic. This is the only competent alphabet in the world. It can spell and correctly pronounce any word in our language.
That admirable alphabet, that brilliant alphabet, that inspired alphabet, can be learned in an hour or two. In a week the student can learn to write it with some little facility, and to read it with considerable ease. I know, for I saw it tried in a public school in Nevada forty-five years ago, and was so impressed by the incident that it has remained in my memory ever since.
I wish we could adopt it in place of our present written (and printed) character. I mean SIMPLY the alphabet; simply the consonants and the vowels—I don't mean any REDUCTIONS or abbreviations of them, such as the shorthand writer uses in order to get compression and speed. No, I would SPELL EVERY WORD OUT.
I will insert the alphabet here as I find it in Burnz's PHONIC SHORTHAND. (Figure 1) It is arranged on the basis of Isaac Pitman's PHONOGRAPHY. Isaac Pitman was the originator and father of scientific phonography. It is used throughout the globe. It was a memorable invention. He made it public seventy-three years ago. The firm of Isaac Pitman & Sons, New York, still exists, and they continue the master's work.
What should we gain?
First of all, we could spell DEFINITELY—and correctly—any word you please, just by the SOUND of it. We can't do that with our present alphabet. For instance, take a simple, every-day word PHTHISIS. If we tried to spell it by the sound of it, we should make it TYSIS, and be laughed at by every educated person.
Secondly, we should gain in REDUCTION OF LABOR in writing.
Simplified Spelling makes valuable reductions in the case of several hundred words, but the new spelling must be LEARNED. You can't spell them by the sound; you must get them out of the book.
But even if we knew the simplified form for every word in the language, the phonographic alphabet would still beat the Simplified Speller "hands down" in the important matter of economy of labor. I will illustrate:
PRESENT FORM: through, laugh, highland.
SIMPLIFIED FORM: thru, laff, hyland.
PHONOGRAPHIC FORM: (Figure 2)
To write the word "through," the pen has to make twenty-one strokes.
To write the word "thru," then pen has to make twelve strokes—a good saving.
To write that same word with the phonographic alphabet, the pen has to make only THREE strokes.
To write the word "laugh," the pen has to make FOURTEEN strokes.
To write "laff," the pen has to make the SAME NUMBER of strokes—no labor is saved to the penman.
To write the same word with the phonographic alphabet, the pen has to make only THREE strokes.
To write the word "highland," the pen has to make twenty-two strokes.
To write "hyland," the pen has to make eighteen strokes.
To write that word with the phonographic alphabet, the pen has to make only FIVE strokes. (Figure 3)
To write the words "phonographic alphabet," the pen has to make fifty-three strokes.
To write "fonografic alfabet," the pen has to make fifty strokes. To the penman, the saving in labor is insignificant.
To write that word (with vowels) with the phonographic alphabet, the pen has to make only SEVENTEEN strokes.
Without the vowels, only THIRTEEN strokes. (Figure 4) The vowels are hardly necessary, this time.
We make five pen-strokes in writing an m. Thus: (Figure 5) a stroke down; a stroke up; a second stroke down; a second stroke up; a final stroke down. Total, five. The phonographic alphabet accomplishes the m with a single stroke—a curve, like a parenthesis that has come home drunk and has fallen face down right at the front door where everybody that goes along will see him and say, Alas!
When our written m is not the end of a word, but is otherwise located, it has to be connected with the next letter, and that requires another pen-stroke, making six in all, before you get rid of that m. But never mind about the connecting strokes—let them go. Without counting them, the twenty-six letters of our alphabet consumed about eighty pen-strokes for their construction—about three pen-strokes per letter.
It is THREE TIMES THE NUMBER required by the phonographic alphabet. It requires but ONE stroke for each letter.
My writing-gait is—well, I don't know what it is, but I will time myself and see. Result: it is twenty-four words per minute. I don't mean composing; I mean COPYING. There isn't any definite composing-gait.
Very well, my copying-gait is 1,440 words per hour—say 1,500. If I could use the phonographic character with facility I could do the 1,500 in twenty minutes. I could do nine hours' copying in three hours; I could do three years' copying in one year. Also, if I had a typewriting machine with the phonographic alphabet on it—oh, the miracles I could do!
I am not pretending to write that character well. I have never had a lesson, and I am copying the letters from the book. But I can accomplish my desire, at any rate, which is, to make the reader get a good and clear idea of the advantage it would be to us if we could discard our present alphabet and put this better one in its place—using it in books, newspapers, with the typewriter, and with the pen.
(Figure 6)—MAN DOG HORSE. I think it is graceful and would look comely in print. And consider—once more, I beg—what a labor-saver it is! Ten pen-strokes with the one system to convey those three words above, and thirty-three by the other! (Figure 6) I mean, in SOME ways, not in all. I suppose I might go so far as to say in most ways, and be within the facts, but never mind; let it go at SOME. One of the ways in which it exercises this birthright is—as I think—continuing to use our laughable alphabet these seventy-three years while there was a rational one at hand, to be had for the taking.
It has taken five hundred years to simplify some of Chaucer's rotten spelling—if I may be allowed to use to frank a term as that—and it will take five hundred years more to get our exasperating new Simplified Corruptions accepted and running smoothly. And we sha'n't be any better off then than we are now; for in that day we shall still have the privilege the Simplifiers are exercising now: ANYBODY can change the spelling that wants to.
BUT YOU CAN'T CHANGE THE PHONOGRAPHIC SPELLING; THERE ISN'T ANY WAY. It will always follow the SOUND. If you want to change the spelling, you have to change the sound first.
Mind, I myself am a Simplified Speller; I belong to that unhappy guild that is patiently and hopefully trying to reform our drunken old alphabet by reducing his whiskey. Well, it will improve him. When they get through and have reformed him all they can by their system he will be only HALF drunk. Above that condition their system can never lift him. There is no competent, and lasting, and real reform for him but to take away his whiskey entirely, and fill up his jug with Pitman's wholesome and undiseased alphabet.
One great drawback to Simplified Spelling is, that in print a simplified word looks so like the very nation! and when you bunch a whole squadron of the Simplified together the spectacle is very nearly unendurable.
The da ma ov koars kum when the publik ma be expektd to get rekonsyled to the bezair asspekt of the Simplified Kombynashuns, but—if I may be allowed the expression—is it worth the wasted time? (Figure 7)
To see our letters put together in ways to which we are not accustomed offends the eye, and also takes the EXPRESSION out of the words.
La on, Makduf, and damd be he hoo furst krys hold, enuf!
It doesn't thrill you as it used to do. The simplifications have sucked the thrill all out of it.
But a written character with which we are NOT ACQUAINTED does not offend us—Greek, Hebrew, Russian, Arabic, and the others—they have an interesting look, and we see beauty in them, too. And this is true of hieroglyphics, as well. There is something pleasant and engaging about the mathematical signs when we do not understand them. The mystery hidden in these things has a fascination for us: we can't come across a printed page of shorthand without being impressed by it and wishing we could read it.
Very well, what I am offering for acceptance and adopting is not shorthand, but longhand, written with the SHORTHAND ALPHABET UNREACHED. You can write three times as many words in a minute with it as you can write with our alphabet. And so, in a way, it IS properly a shorthand. It has a pleasant look, too; a beguiling look, an inviting look. I will write something in it, in my rude and untaught way: (Figure 8)
Even when I do it it comes out prettier than it does in Simplified Spelling. Yes, and in the Simplified it costs one hundred and twenty-three pen-strokes to write it, whereas in the phonographic it costs only twenty-nine.
(Figure 9) is probably (Figure 10).
Let us hope so, anyway.

Sonntag, 13. November 2011

Die Paris Review-Interviews in deutscher Auswahl

«Von Schriftstellern für Schriftsteller»
Dialog auf höchster Ebene – eine Auswahl von Literaten-Interviews aus der «Paris Review»
Michael Schmitt in der NZZ vom 12.11.2011:

Die 1953 gegründete «Paris Review» will Literatur auf hohem Niveau vermitteln. Interviews mit namhaften Autorinnen und Autoren dienen dabei als Lockspeise für ein grösseres Publikum. Eine Auswahl dieser Gespräche liegt nun auf Deutsch vor.

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Zwischen 2006 und 2009 erschienen The Paris Review Interviews I to IV:

The Paris Review Interviews, I
$16.00
Picador, 2006
Paperback; 510 pages

The first volume in the new four-volume selection of The Paris Review interviews, with an introduction by Philip Gourevitch. The book features interviews with:
Dorothy Parker
Truman Capote
Ernest Hemingway
T. S. Eliot
Saul Bellow
Jorge Luis Borges
Kurt Vonnegut
James M. Cain
Rebecca West
Elizabeth Bishop
Robert Stone
Robert Gottlieb
Richard Price
Billy Wilder
Jack Gilbert
Joan Didion

The New York Times calls The Paris Review interviews “the most remarkable and extensive interviewing project we possess” and the Times Literary Supplement of London says, "This book will intrigue and delight any serious reader or writer. It may even inspire.”

The Paris Review Interviews, II
$16.00
Picador, 2007
Paperback; 512 pages

The second volume in the new four-volume selection of The Paris Review interviews, with an introduction by Orhan Pamuk. The book features interviews with:
Graham Greene
James Thurber
William Faulkner
Robert Lowell
I. B. Singer
Eudora Welty
John Gardner
William Gaddis
Philip Larkin
James Baldwin
Gabriel García Márquez
Harold Bloom
Toni Morrison
Alice Munro
Peter Carey
Stephen King

The Paris Review Interviews, III
$16.00
Picador, 2008
Paperback; 446 pages

The third volume in the new four-volume selection of The Paris Review interviews, with an introduction by Margaret Atwood. The book features interviews with:
Ralph Ellison
Georges Simenon
Isak Dinesen
Evelyn Waugh
Ted Hughes
Harold Pinter
John Cheever
Chinua Achebe
Jean Rhys
Raymond Carver
William Carlos Williams
Joyce Carol Oates
Jan Morris
Martin Amis
Salman Rushdie
Norman Mailer

The Paris Review Interviews, IV
$14.00
Picador, 2009
Paperback; 478 pages

The final volume in the new four-volume selection of The Paris Review interviews, with an introduction by Salman Rushdie. The book features interviews with:
William Styron
Marianne Moore
Ezra Pound
Jack Kerouac
E. B. White
P. G. Wodehouse
John Ashbery
Philip Roth
Maya Angelou
Stephen Sondheim
V. S. Naipaul
Paul Auster
Haruki Murakami
Orhan Pamuk
David Grossman
Marilynne Robinson