A Plea for Eros: Essays by Siri Hustvedt

By Siri Hustvedt

Publish yr note: First released 2005
From the writer of the foreign bestseller What I Loved, a provocative number of autobiographical and demanding essays approximately writing and writers.

Whether her topic is becoming up in Minnesota, cross-dressing, or the radical, Hustvedt's nonfiction, like her fiction, defies effortless categorization, elegantly combining mind, emotion, wit, and keenness. With a gentle contact and consummate readability, she undresses the cultural prejudices that veil either literature and lifestyles and explores the a number of personalities that unavoidably inhabit a writer's brain. Is it attainable for a girl within the 20th century to recommend the corset, and while strategy with authority what it really is prefer to be a guy? Hustvedt does. Writing with rigorous honesty approximately her personal divided self, and the way this has formed her as a author, she additionally methods the works of others--Fitzgerald, Dickens, and Henry James--with revelatory perception, and a practitioner's realizing in their art.

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Quast (–). Man shitting with another looking on; tiny,” he commented on only a few paintings: the Beckett the Tourist 25 four small Peter Breughel the Younger’s (“a cut above Velvet [Breughel],” he wrote) and Marinus von Reymerswaele’s St. ” Somewhat surprisingly in view of a debate about the possible impact on Beckett of the Albrecht Dürer engraving of Melencolia, he notes only that he has seen some “original Dürer copper prints (inc. [und] Teufel [Death and the Devil], St. ” The diary does at least establish, however, that Beckett had personally seen some of these celebrated and potentially influential engravings, “in the flesh” as it were, at an early stage of his career as a writer.

Number assigned, Reading University Library, Reading, vol. ,  Feb. . After first citation here, volume  of the German Diaries will be referred to as GD, followed by the day and month only for the extract. All diary entries cited are dated from  Feb. to  Feb. . . GD,  Feb. . GD,  Feb. 30 For Ruby Cohn . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb. . GD,  Feb.

Faint, though by no means invisible in a certain light,” it is no mere social construction. It may resemble, however, the semblance, more than faintly in a certain light, those sublimates of material life-process, what Marx speaks of as phantoms of the brain—or be haunted there, as with Marx himself, for all he tried to dispel it, by the future of illusion in the catastrophe of the past, about which one may say (and I’ve said it, taking a cue from the later Freud, what accounts for his tragic view in Civilization and Its Discontents) there is no other future.

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