Philip Roth: âNo one can accuse him of ever hiding who he was.â Photograph: Reuters/Alamy
Philip Roth: âNo one can accuse him of ever hiding who he was.â Photograph: Reuters/Alamy
Sat 3 Apr 2021 04.00 EDT
Last modified on Mon 5 Apr 2021 06.55 EDT
In order to grow up, as Sigmund Freud probably wrote somewhere, a child must rebel against its parents, and for a while now modern culture has been rebelling against its literary fathers, that Mount Rushmore of 20th-century highbrow masculinity: Saul Bellow, Norman Mailer, John Updike and Philip Roth. Last month, twoBritish newspapers announced that Roth âcould face getting cancelledâ on account of details about his personal life included in two new biographies. That Roth arguably cancelled himself three years ago by dying is beside the point: the quickest way to prove one is Good these days is to vilify those who are Bad, and death is no hiding place.
Diario HOY | Anna Chase presenta Antídoto , en colaboración con el mexicano Jorge Blanco
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Vivian Gornick. (Photo by Joan Bingham)
Vivian Gornick’s writing has often given me the sensation of finding myself in the same place but much changed. This is as true of her criticism and journalism as it is of her memoirs a straightforward and piercing desire for rediscovery conquers the text, no matter its voice. Perhaps this can help account for why a writing career that has persisted across five decades has in the past couple years been enthusiastically reexamined and reissued by ascendant generations of feminists, and Gornick herself. A collection of essays on rereading released last year,
Unfinished Business, was also an exercise in rewriting previously published material, inducing dialectical déjà vu in anyone keeping up with her work. In her second book, 1977’s
Philip Roth: The Biography, by Blake Bailey. W. W. Norton. 912 pages. $40.
I ’ve never understood what others make out of non-fiction. Me, I used to make fiction out of it, but that was a while ago and I’m talking about regular people. I’m talking about you people, who apparently even now keep buying and library-borrowing, perhaps even reading, masses of these vast, fact-teeming books whose genre swears to tell the whole truth and nothing but the truth, so help me God. What exactly do you want from them? I can’t imagine you read history for the same reason I did, to cherry-pick period details to use in novels. And what about biographies? Do you read them out of curiosity, envy, jealousy? Do you read them only for comparison? That’s what I did, back when I was alive: I read other lives
Jessie Homer French opens her first solo exhibition with MASSIMODECARLO
Jessie Homer French, Ezra and the Skunk, 1988, Ex. Acrylic and oil on plywood, 111.76 × 220.9 cm / 44 × 87 inches.
LONDON
.-MASSIMODECARLO is presenting West Coast, the exhibition debut of Jessie Homer French with the gallery. For her first solo exhibition with MASSIMODECARLO, London, West Coast brings together a vast range of works that encompasses a thorough investigation of the artists long-time practice.
Jessie Homer French is a self-taught artist whose paintings emerge from a continuous analysis of places surrounding her and reveal the artist s personal and profound attitude to a local and transient type of composition. Homer French treats with delicate care existential issues related to death and personal loss, nature and climate changing, rural life and the beauty of wide-open outdoor spaces. In her work, humankind and nature are linked by an indissoluble bond, caught in a sardonic interplay in w
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