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.
The World of Tomorrow, Leonard Wallock writes, “was the city’s perfected dream of itself.” It manifested desires for “scientific rationality, technological progress, modernist aesthetics, industrial design … consumer prosperity, and … corporate capitalism” in spatial form, via rational urban planning and progressive civil engineering, modernist architecture and sterilized suburbs. Just as important — though much less discussed — was the dream of efficient urban administration. (more…)
Emily Dickinson published only ten poems. Printed in various newspapers, her verses all appeared anonymously. It was not some failure of contemporary taste but her own decision that kept the rest of her poetry private. Dickinson wrote in one poem that “Publication—is the Auction / Of the Mind of Man—” and indeed she seems to have felt there was something crass, even violative about fixing one’s words in a particular arrangement of type, surrendering them for a price. (more…)
Dan Gunn: Proust’s narrator deduces that, to convey the priority of sense-impressions over pre-formulated conclusions, he needs to write à la Dostoevsky. When I read your work I am, in fact, made to think less of Dostoevsky than of Kafka, and of the way in which the familiar becomes strange in his work—his story “Hands” for example, where his narrator’s two hands appear suddenly to be alien and potentially at war with one another. If one may provisionally call such writing “phenomenal,” do you feel that part of your own work which is “phenomenal” to be working within a tradition? Or is it rather something that you developed privately and intuitively?
Lydia Davis: I think influence is a complicated thing. I am influenced by a kind of writing because I am drawn to it, open to it. I am drawn to it because there is already an affinity between my own sensibility and sense of formal structure and those of the author I am reading or studying. I would not be influenced by a writer alien to me. I really see an ongoing process that starts in earliest childhood. The very first picture books and nursery rhymes have their effect, as do songs and the lyrics of songs. My sensibility as a child is affected by these and then my changing sensibility and sense of structure show in my writings, even the stories written as assignments in grade school. And of course the influences of interactions with family and friends and teachers continue to have their effect. (more…)
Interviewer: You have said that you begin to write before dawn. Did this habit begin for practical reasons, or was the early morning an especially fruitful time for you?
Toni Morrison: Writing before dawn began as a necessity—I had small children when I first began to write and I needed to use the time before they said, Mama—and that was always around five in the morning. Many years later, after I stopped working at Random House, I just stayed at home for a couple of years. I discovered things about myself I had never thought about before. At first I didn’t know when I wanted to eat, because I had always eaten when it was lunchtime or dinnertime or breakfast time. Work and the children had driven all of my habits . . . I didn’t know the weekday sounds of my own house; it all made me feel a little giddy. (more…)