I am both delighted and honoured to announce that RhysTranter.com has been selected by the British Library’s UK Web Archive “as an important part of Wales’ documentary heritage”. The site has become part of the repository’s permanent collection, where it will “remain available to researchers in the future”. The UK Web Archive is a partnership between the British Library, the National Library of Wales, and the National Library of Scotland.
Just received James E. Montgomery’s Loss Sings in the mail, the thirty-second volume to be published in the excellent Cahiers Series by Sylph Editions:
“In this deeply personal cahier James E. Montgomery contemplates memory, loss and the consolatory power of words through the prism of his personal circumstances. His thoughts are refracted by his own translations of the dirges of the 6th-century poetess al-Khansa’, lamenting the battlefield death of her two brothers. Each section of Montgomery’s text is dated and spans over a period of two weeks with the final entry strangely ending on 11 September 2017, exactly 16 years after he himself witnessed, from his Greenwich Village window, the haunting and ‘strange beauty’ of the day’s portentous spectacle. Still, throughout the text Montgomery never loses touch with his vocation as a literary translator. He considers the practice more akin to trauma than it is to memory: ‘Translation is also mourning for what we want to retain, what we value and cherish; it is, equally, mourning for what we know we must lose’, all of which is relayed by Alison Watt’s wondrous images that accompany the cahier.”
Emilie Morin’s recent book sheds light on Beckett’s engagement with cultural and political issues
Could you tell me a little bit about yourself and your research interests?
My research revolves around modernism and post-1945 literature, and the essays and books that I have published on Beckett’s work explore its relation to politics, its historical dimensions, and its Irish and European influences. I have been working in the Department of English at the University of York for over ten years.
How did you first encounter Samuel Beckett’s writing?
I must have been about fifteen, I think, when I first heard about Beckett. A friend of mine told me about a play that she had seen in which two actors were trapped in rubbish bins, and I was intrigued! Soon after I came across copies of the early absurdist plays, in the lovely Editions de Minuit versions. I was particularly struck by Oh les beaux jours, with its memorable cover featuring Madeleine Renaud stoically holding her umbrella.
It seemed to me remarkable that a whole play could be made to unfold from that situation, from that image. The author was of no concern to me then, but from that first reading I recall being convinced that the work dealt with colonialism and with colonial wars, and I remember seeing a very literal political dimension within it. The French texts have a peculiar texture; they refract much of what is unsaid about colonial history, and much of what is culturally unsayable about historical injustice, and I was sensitive to that. These were powerful impressions, which stayed with me thereafter. When I began to study Beckett’s work properly, many years later, I did so in light of its Irish literary and historical contexts, and my first monograph was a reappraisal of Beckett’s relation to Ireland. For me, the work is never abstract: it is inseparable from war memory and from the long colonial histories that it invokes. In a sense, this new book was a return to my first impressions: when I started researching, I worked on what is now the final chapter on Beckett and the Algerian War of Independence. (more…)
As her debut collection draws both popular and critical acclaim, I caught up with Emily Blewitt to talk about poetry, labels, and contemporary women’s writing
When did you begin writing?
On one hand, the answer to this question is: since I could write. I was always writing stories when I was a little girl. And reading – I was a very enthusiastic bookworm! I never intended to write poetry; I didn’t think I’d be able to, though I loved reading it. I didn’t see how I could write poetry; I didn’t know how to go about it. But when I was seventeen, for the first time I saw a contemporary poet in action. I heard Kate Clanchy perform her work, and she was brilliant. She showed me that poetry could be accessible, powerful, sexy, exciting. That was the seed, though I didn’t start writing poetry properly until my early twenties, after I signed up for some extra-curricular writing workshops during my Masters degree.
What is it about poetry that appeals to you?
For me, poetry has an immediacy about it. It can speak to us forcibly and directly. It has truth (different from accuracy) and music to it. It can take us somewhere, and continue to do so, because it is so layered with possible meanings. It’s slight compared to, say, a novel, but it can pack a punch far above its weight. I love its rhythms, its urgency, its vitality, its power.(more…)
Reflecting on the decision to pursue my vocation in art, service, and simple living
One year ago today I made a decision to change my life. A cardiology appointment prompted me to think more carefully about my lifestyle choices, and I became motivated to start living according to values of simplicity, humility, and compassion. (more…)
As The Story Was Told (1996), a two-part documentary featuring interviews with authorised biographer James Knowlson, publishers John Calder and Barney Rosset, actress Billie Whitelaw, nephew Edward Beckett, and others. The documentary is notable, in part, for its glimpses of Beckett’s home in Paris and his country retreat in Ussy-sur-Marne.
Robert Harrison has interviewed the American novelist and essayist Marilynne Robinson about her religious beliefs for Entitled Opinions, hosted by the Los Angeles Review of Books. Their conversation also touches on topics of grief, history, science, Freudianism, and the work of Ralph Waldo Emerson, Walt Whitman, Emily Dickinson, and Edgar Allan Poe. Listen.
In honour Hugh Haughton on his birthday, the Department of English and Related Literature, the University of York is hosting a poetic and scholarly “cerebration”. We commence on Friday 8 June with an evening of poetry, featuring readings by:
Gerald Dawe · Kit Fan · Bernard O’Donoghue · Caitríona O’Reilly · Peter Robinson(more…)
Today marks 112 years since the birth of Irish writer, playwright, and Nobel laureate Samuel Beckett. To celebrate, the Samuel Beckett Society have assembled a collection of links to celebrate his life, work, and legacy. You can see their collection for yourself at the Samuel Beckett Society’s official website.
“There are many myths about class in the UK. The repercussions of these myths go largely unchallenged, and individual voices are often lost. In the first of a new series looking at the diversity of stories that make up the working class, Dr Michelle Deininger charts her journey from a council estate in Oxfordshire through her experiences in education to her current role as humanities lecturer at Cardiff University.”
Today marks International Women’s Day, which has commemorated the struggle for women’s civil rights throughout the twentieth century. The day was originally known as International Working Women’s Day, and for most of its history has been connected with socialist movements and communist states such as China and Soviet Russia. In the mid-1970s, during the height of Second Wave Feminism, the UN recognised International Women’s Day and invited its member states to do the same.
Zadie Smith Answers Questions from Fans:“Zadie Smith has been a vital literary voice since her first novel, White Teeth, became an instant bestseller. [In The Observer,] she answers questions from famous fans, including Teju Cole, Philip Pullman and Sharmaine Lovegrove, and a selection of our readers”
Archival excavation and detailed contextualisation is becoming increasingly central to scholarship on literary modernism. In recent years, the increased – and often online – accessibility and dissemination of previously unpublished or little-known texts has led to paradigm-shifting scholarly interventions across a range of canonical and lesser-known authors, neglected topics, and critical methodologies including genetic criticism, intertextuality, book history, and historical documentation. This trend is only bound to increase as large-scale digitisation of archival materials gathers pace, and existing copyright restrictions gradually lapse.
These two book series have been at the forefront of this burgeoning trend, and this international conference will take stock of these developments. Above all, it will also point forwards, towards future avenues of research. The authors and editorial board members connected with the series will reflect upon the ‘state of the art’ regarding archive-based research within their particular sub-discipline, connecting this to Modernism Studies as a whole. The provisional paper titles listed below reflect their responses to this invitation. (more…)
“It’s a rare piece of critical writing that can contemplate a mystery and deepen our understanding of it without “solving” it. This is criticism with the open-ended power, yet also the ambiguity, of the creative genius from whom it is derived. There is too much in this collection that doesn’t deserve renewed scrutiny; but when Ms. Smith is writing at her best, she is free, unfettered and alive.”