At 5pm on Tuesday 30 May 2017, Scarlett Baron will be giving a free lecture on James Joyce at the University of Reading. The lecture will connect to her broader interest in modernist and postmodernist literature in English and French:
“Her 2011 monograph ‘Strandentwining Cable’: Joyce, Flaubert, and Intertextuality reads Joyce within an Anglo-French literary tradition and argues for the importance of his work within the emergence of intertextual theory.
Everyone is most welcome to this event, which takes place 5pm at the Special Collections, University of Reading. The lecture will be accompanied by a glass of wine and is hosted by the Finnegans Wine Reading Group.”
To book a place, or for more information, take a look at the Eventbrite page.
Back in April, Rebecca Solnit contributed to Cosmopolitan‘s ‘Get that Life’ series, where she talks about her career as a writer, historian, and activist. She discusses how she came to turn a vocation into a profession, and ends by reflecting on the role that writing continues to play in her life:
“My life has been startling to me. Nobody had ambition on my behalf when I was young. Nobody led me to have high expectations of myself or even to think about some of the things that have happened, about being something of a public figure, playing a role in some of the conversations in the culture, making a living by writing. I just wanted to do this thing, which was about describing the world as I saw it, about the art of telling stories, working with language, finding relationships and patterns in the world, intervening on behalf of the things I’m committed to — and here I am.”
Lorraine Sim discusses how the women of modernism allow us to reimagine the ordinary and the everyday
What inspired you to write Ordinary Matters?
The idea developed from my first book, Virginia Woolf: the Patterns of Ordinary Experience. Towards the end of that project I realised there was much more that I wanted to explore, both in terms of the concept of the everyday and its applications to modernism and cultural histories of early twentieth-century modernity. I remember reading H.D.’s fascinating wartime memoir, The Gift, while I was working on my book on Woolf, and seeing some of Lee Miller’s photographs of London during the Blitz around the same time, and I felt I needed to extend my exploration of the ordinary to a broader range of women writers, artists and contexts. The final chapter of Virginia Woolf looked at what I termed the ‘ethics of the ordinary’ in her oeuvre. This idea, of the ways in which the ordinary functions as a site of value (be it personal, social, moral or political), really fascinated me, and I wanted to explore it in a more comprehensive way. Also, many canonical and contemporary theories on the topic view the everyday negatively, or as requiring radical transformation, and I felt that this was a critical habit or commonplace that itself required interrogation.Read More
In a conversation published by Vulture, David Marchese asks artist and filmmaker David Lynch about the reboot of his cult 1990s drama:
After being away from the world of Twin Peaks for so long, was it hard to find your way back into the atmosphere of the show and the minds of the characters? It was just like rolling off a log.
Is that a good thing or a bad thing? It’s a very good thing, David. It’s hard to stay on a log. It’s easy to roll off.
You could hit your head, though. That would be bad, David. I mean to say I know the world of Twin Peaks. You get Douglas firs in that part of the Pacific Northwest rather than ponderosa pine. I love vertical-grain Douglas-fir plywood. I love that world and all the characters from the original series. It feels like only a moment ago we were working on the original and then, a moment later, we’re stepping back into it. It’s just like that.
Lynch also shares his favourite topic of conversation (hint: it involves sitting quietly) and speculates on the importance of television since the decline of arthouse cinema.