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Ladataan... Shakespeare and Company (Second Edition) (alkuperäinen julkaisuvuosi 1956; vuoden 1991 painos)Tekijä: Sylvia Beach
TeostiedotShakespeare & Company (tekijä: Sylvia Beach (Author)) (1956)
Ladataan...
Kirjaudu LibraryThingiin nähdäksesi, pidätkö tästä kirjasta vai et. Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta. It was a lot of fun to read a first person account about the literary ferment that went in in Paris of the early and mid 20s. James Joyce, T S Eliot and Ernest Hemingway were determined to change the English language into something they found more agreeable. There contributions to literature and poetry certainly left a major mark. We think and speak differently now at least partly because of them. The real test is whether our understanding of human nature was enhanced by there communicating skills. We may each have an answer for that question but time will be the final judge. ( ) Sia benedetta Sylvia Beach, che con una piccola libreria indipendente ha pubblicato il libro che ha caratterizzato la storia del novecento, l’Ulisse; sia benedetto James Joyce che l’ha scritto; e sia benedetta anche la casa editrice Neri Pozza che ha pubblicato il diario della Beach. Parigi, la prima guerra mondiale è terminata da poco; una giovane ragazzina americana che sogna di aprire una libreria francese a New York ne apre una anglofona a Parigi; aiutata da Adrienne Monnier, proprietaria di un’altra libreria. La libreria inizia in sordina, ma con il tempo si trasforma nel crocevia della vita culturale della capitale francese, da Ezra Pound a Ernest Hemingway, da Paul Valery a Gidé, Shakespeare and Company si trasforma da oggetto in soggetto; ma la svolta è il rapporto che con il tempo si instaura tra la Beach e Joyce, l’autore irlandese, in forti difficoltà economiche, sta lavorando all’Ulisse, non riesce a concluderlo, ma intanto nessuno se la sente di pubblicarlo. Lo fa una giovane libraia sbarazzina e caparbia che così entra nella storia; e sullo sfondo Parigi, i miasmi dei totalitarismi, l’occupazione nazista, la chiusura della libreria e un sogno che, intanto, si è trasformato in realtà. Un libro fondamentale per comprendere la storia contemporanea da un angolo visuale diverso. Ecco la prova che non è sufficiente trascorrere la vita in mezzo a pezzi da novanta della cultura per diventare anche solo un poco come loro. Sylvia Beach ha avuto un ruolo fondamentale nella pubblicazione dell'"Ulysses" di Joyce e di questo bisogna esserle grati, ma la storia della sua libreria americana a Parigi e del fantastico mondo che vi faceva capo è raccontata col tono di una patronessa del Lions Club, che non va oltre l'aggettivo "interessante" e scodella aneddotini e storielle di una banalità disarmante e di interesse veramente irrisorio. The story of Sylvia Beach and her expatriot American clientele (such as Hemingway) and the publication of James Joyce's Ullyses. Literary figures abound at this time which is interesting, though many authors of the time don't interest me so much. Gertrude Stein, Andre Gide, Paul Vallery, Sylvia Plath. 1920's Paris. Fashionable place to be then. Ebook - read via Open Library here. Sylvia Beach and her bookstore Shakespeare and Company are legendary now - but were also quickly popular in her time, as the bookshop became a meeting place for visitors to stop in and perhaps use its address to forward their mail. It was as much a club and a writers' meeting place as it was a bookstore and lending library. Since Beach was so immersed in the society of authors, poets, and other famous folk, and often doesn't give you much more than their names and where she bumped into them, so I did find myself stopping to look up many names (and as usual adding books to my reading list) - and enjoying that. As usual I find it sad that there are so many notable people in French history that you end up having to go to websites in French to learn about them, and/or find there are few translations of certain French authors. I find this a problem repeatedly, and it's especially annoying to check French booksellers and find plenty of books, but no English translations - mainly I assume because there's no market for it. (Which again makes me sigh.) An example of such a historic person: one of the first to visit Shakespeare and Company was Thérèse Bertrand-Fontaine (p. 22), the first woman in France to became "Medecin des Hopitaux." And the link is to the French wikipedia because there's nothing about her in English. Sad. Many of the notable French authors Beach mentions are also hard to track down - in English that is, because there are plenty of French versions you can access. (I can actually read French, it's just that I'm still so dang slow at it. So I'm lazy and hunt for translations.) Anyway, this "why don't we value/translate works from other countries" rant is a familiar one for me. Substitute many other countries for France and the lack of translations of famous authors and notable histories is probably the same. - And end of tangent! Beach has a really fun style of writing, very much as if she were writing a letter to someone she knows. Since it's a bit hard to describe I'll just add quotes, as those are more fun to read than descriptions anyway. Am also adding many bits about Joyce that seem to be good descriptions about his personality and family, since Beach was very much a part of Joyce's life story. Also I've long been fascinated with John S. Sumner and his crusade against obscenity - may history books continue to mock him (and Comstock) for eons. There are descriptions of many, many other writers as well, but of course I can't quote everything. (I go a bit quote-happy as it is.) After reading so much about Beach's close friend and fellow bookshop owner Adrienne Monnier, I'm particularly sad that it seems difficult to find a book about her. She seems to be mentioned in quite a few books, but few dedicated completely to her - and those seem hard to track down outside of libraries. Which makes me suspect that I should check for books in French. (I am trying to get my hands on The Very Rich Hours of Adrienne Monnier and Rue de l'Odeon.) Meanwhile because Beach wrote Shakespeare and Company around 1956 what isn't mentioned is that Beach and Monnier were partners in every sense of the word, and were together for 36 years. So there's a love story in there that I wish Beach had been able to write (though of course you can read it in this book - between the lines - once you're aware of it). What kept this from being a four star - there was much that seemed to be left out, and left me with questions as to what happened to people who Beach mentioned and then who disappeared from the narrative. Much of the book is short anecdotes and character sketches, and much deals with people around Beach when you often wish to know more about Beach herself or her feelings. (Not that you can't often tell from context how Beach feels!) Still, it was both interesting and a great window into a period that I've read about before, but as history - Beach does give a very personal look at the time and the people. I'd give it 3 1/2 starts, and still am wavering about 4. But that may have more to do with the outside reading I did on Beach and Monnier, and the fact that I love that they were a couple who were bookshop owners (with shops right around the corner from each other). Quotes: p. 4, Loie Fuller, speaking to a group of American students: "She came not to dance but to talk about her dancing. I remember her as stumpy, rather plain girl from Chicago, wearing glasses, the schoolmarm type, telling about the experiments she was making with radium in connection with her lighting system. She was dancing at the Moulin Rouge at the time, as I remember, and making a sensation. When you saw her there, the stoutish woman you knew as Loie Fuller was transformed. With two outstretched sticks, she manipulated five hundred meters of swirling stuff, flames enveloped her, and she was consumed. Finally, all that remained were a few ashes."After looking at the posters and photos on the wikipedia page I'm dying to find a book about Loie Fuller. So far I've located Fifteen years of a dancer's life, with some account of her distinguished friends, written by Fuller herself. p. 8: "A friend in Princeton who shared this passion [for France] was Margaret Sloan, the daughter of Professor William Sloane, who had written a life of Napoleon. Margaret was delighted when, on a hot Sunday morning at the First Presbyterian Church, she saw my sister Cyprian seat herself in our front pew and open a large fan decorated with a black cat and the name of a famous cabaret in Paris, Au Chat Noir." p 12: "...drawing me into the shop, greeted me with much warmth. This was surprising in France, where people are as a rule reserved with strangers, but I learned that it was characteristic of Adrienne Monnier, particularly if the strangers were American. "I like America very much," she said. I replied that I liked France very much. And, as our future collaboration proved, we meant it." p. 23: "I was too far from my country to follow closely the struggles of the writers there to express themselves, and I didn't foresee, when I opened my bookshop in 1919, that it was going to profit by the supressions across the sea. I think it was partly to these supressions, and the atmosphere they created, that I owed many of my customers - all those pilgrims of the twenties who crossed the ocean and settled in Paris and colonized the Left Bank of the Seine. p 41: ""Mr. Joyce" was also rather quaint when it came to the mention of certain things in the presence of ladies. He blushed scarlet over the stories that Leon-Paul Fargue used to tell to mixed audiences at Adrienne's bookshop. The ladies themselves, in a vountry where the men don't get off by themselves, were not at all disturbed. I'm sure Joyce regretted that his nice lady editress should be exposed to such things, but I fear I had become inured by many a Fargue session. p 42, ellipses in the original: "Joyce enjoyed being called a good-for-nothing by Nora; it was a relief from the respectful attitude of others. he was delighted when she poked and pushed him. p 43: "Then there were his superstitions, which were shared by the family. ...Opening an umbrella in the house, a man's hat on the bed were ill omens. Black cats, on the contrary, were lucky. Arriving one day at the Joyce's hotel, I saw Nora trying to induce a black cat to go into the room where her husband was lying, while through the open door he anxiously observed her efforts. Cats were not only lucky, Joyce liked having them about, and once, when a kitten of his daughter's fell out of the kitchen window, he was more upset about it as she was." p 46: "Miss Weaver explained to me why English printers are so finicky. Their prudence is indeed quite excusable. If a book is found objectionable by the authorities, the printer as well as the publisher is held responsible and must pay the penalty. No wonder he scrutinizes every little word that might get him into trouble. Joyce once showed me the proofs of Mr. Jonathan Cape's new printing of A Portrait of the Artist, and I remember my amazement at the printer's queries in the margins." p 46-7: "A big fight was going on between the Little Review and the American authorities. Joyce brought me disturbing news from the battlefield. p 94: "Aleicester (pronounced Alester) Crowley was as peculiar as he sounded in the tales told of him, and, of course, in his own Diary of a Drugfiend. His clay-colored head was bald except for a single strang of black hair stretching from his forehead over the top of his head and down to the nape of his neck. The strand seemed glued to the skin so that it was not likely to blow up in the wind. A self0mummified-looking man, he was rather repulsive. My acquaintance with him was brief. I wondered, looking at him, whether what some of my English friends hinted was true - that he was in the Intelligence Service. I thought someone less conspicuous might have been chosen.Needless to say, Beach said no. p 158: "...I have a vague recollection of a story [Andre] Gide told me about himself and one of his friends when they were schoolboys, and a trick they played on his concierge. He gave me leave to tell it in my memoirs. Problems with pirating Joyce's work in the US: p 179-180 "I first heard of pirates boarding Joyce's craft was when an unauthorized edition of Chamber Music was brought out in Boston in 1918. Much more serious was the rape of Ulysses in 1926. It took years, and publication by Random House, to restore the book to its author. Vacationing with Adrienne Monnier at Les Deserts, Savoy, France, staying with local folk: "...a couple of the inhabitants, who partitioned off a little bedroom for us in their hayloft. You went up to it by a ladder outside. We were right over the stables, so that we never missed any important events taking place there: a cow having a calf at three in the morning by lantern light, with everybody present... At daybreak the stable doors were opened and out poured the cattle like a crowd leaving the theatre. To prevent our being wakened, Adrienne's cousin Fine stuffed paper in the cowbells, but the barking of the dog as he hustled his herd along to the fields - how could she muffle that?"
Med sina anspråkslösa memoarer har hon bevarat en litterär epok, frusit ner den så att också eftervärlden kan göra ett nedslag i 20-talets litterära Paris. Kuuluu näihin kustantajien sarjoihinLyhennelty täällä:
Sylvia Beach was intimately acquainted with the expatriate and visiting writers of the Lost Generation, a label that she never accepted. Like moths of great promise, they were drawn to her well-lighted bookstore and warm hearth on the Left Bank. Shakespeare and Company evokes the zeitgeist of an era through its revealing glimpses of James Joyce, Ernest Hemingway, Scott Fitzgerald, Sherwood Anderson, Andre Gide, Ezra Pound, Gertrude Stein, Alice B. Toklas, D. H. Lawrence, and others already famous or soon to be. In his introduction to this new edition, James Laughlin recalls his friendship with Sylvia Beach. Like her bookstore, his publishing house, New Directions, is considered a cultural touchstone. Kirjastojen kuvailuja ei löytynyt. |
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