Forty-One False Starts: Essays on Artists and Writers

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9780374534585: Forty-One False Starts: Essays on Artists and Writers
Críticas:

"No living writer has narrated the drama of turning the messy and meaningless world into words as brilliantly, precisely, and analytically as Janet Malcolm . . . Her -influence is so vast that much of the writing world has begun to think in the charged, analytic terms of a Janet Malcolm passage." --Katie Roiphe, "The Paris Review""[A] master of the profile...alluring, pointed, singularly perceptive tellings." --"The New Yorker"""Forty-One False Starts" [is] a powerfully distinctive and very entertaining literary experience. . . what the reader remembers is Janet Malcolm: her cool intelligence, her psychoanalytic knack for noticing and her talent for withdrawing in order to let her subjects hang themselves with their own words. . .These short pieces [are] unmistakably the work of a master." --Adam Kirsch, "The New York Times"""Forty-One False Starts" is a remarkable and, in its strange way, gripping piece of work. It achieves the rare feat of communication something valuable about the largely ineffable 'creative process.'" --Zoe Heller, "The New York Review of Books ""[An] invigorating new collection . . . keenly intelligent journalism that feels, always, as if it had been written by a human being, one with a beating heart, a moral compass, a wide-ranging curiosity, and a point of view." --Laura Collins-Hughes, "The Boston Globe" "Even if you've been reading Janet Malcolm for years, the critical appreciations collected in "Forty-One False Starts" may surprise you. The title essay is (or pretends to be) a series of scrapped beginnings to her profile of the painter David Salle, a giant of the art world in vulnerable mid-career. If you want to write magazine prose, this alone should make you buy the book. Ranging from Bloomsbury to Edward Weston to J.D. Salinger, the entire book is full of stylistic daring, fine distinctions, and bold judgments set down at the speed of thought." --Lorin Stein, "The Paris Review "online "[Malcolm's] portraits of the storytellers . . . are glorious. Without any diminishment of her critical eye, she seems like she's having more fun--when she describes Gene Stratton-Porter writing deranged children's books, or Julia Margaret Cameron admiring England's finest beards, or Blair Waldorf sulking over caviar at the Plaza." --Molly Fischer, "The New York Observer " "Janet Malcolm offers a penetrating new collection of essays . . . She's so penetrating, in fact--and her writing so seductive and entertaining--that I always begin reading her books in a kind of critical defensive crouch. . . She might be the most gifted scene-setter in American journalism. . . She's so deft an observer--so rich are her descriptions and insights--that you might find yourself rushing through a piece and only remarking afterward how fine her sentences are." --Michael Robbins, "The Chicago Tribune " "Malcolm has solidified her reputation as a guide who can expertly help readers through, as her "New Yorker" colleague Ian Frazier writes in the introduction to "Forty-One False Starts," 'a good big mess.' One is the sheer pleasure of her rich descriptive power, her sentences turned like spindles on a lathe. There is the historical interest: reminders of who was once fashionable, should one care. There is the cruelly perfect aim of her insults. But there is, above all, the unequaled glimpse into the mind of Malcolm the critic, which is as close as we're likely to get to the mind of Malcolm, one of our smartest, best writers, someone whose personal inscrutability and elusiveness I regret all the time." --Mark Oppenheimer, "The Nation""Malcolm's severity, her terrifying neutrality--like a teacher who is capable of handling even her most despised pupils no differently than the ones she secretly adores--is part of what makes her a brilliant writer. It is also why her writing does not occasion adolescent reverence and why her image is not printed in fashion magazines. You discover Didion in high school and you read her on the beach. Malcolm you discover in college--or after--and read before you do your own work....[She] is a priestly figure; an aura of quiet surrounds her work. She is always in control....Reading even the most cerebral of her sentences, you feel smart by association rather than dumb by comparison." --Alice Gregory, "Slate""Bringing together a quarter-century's worth of subtle, sharply observed essays on artists and writers, this collection chronicles not just life events and artistic influences, but also the amorphous subjectivity of biography itself . . . These unstinting essays investigate how a consensus forms relating to a body of work or an artistic movement, how attitudes toward art change over time, and how artistic legacies are managed--or mismanaged--by children and heirs." --"Publishers Weekly" (starred review and pick of the week)

Críticas:

Even if you've been reading Janet Malcolm for years, the critical appreciations collected in "Forty-One False Starts" may surprise you. The title essay is (or pretends to be) a series of scrapped beginnings to her profile of the painter David Salle, a giant of the art world in vulnerable mid-career. If you want to write magazine prose, this alone should make you buy the book. Ranging from Bloomsbury to Edward Weston to J.D. Salinger, the entire book is full of stylistic daring, fine distinctions, and bold judgments set down at the speed of thought.--Lorin Stein "The Paris Review online "

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Descripción Farrar, Straus Giroux Inc, United States, 2014. Paperback. Estado de conservación: New. Reprint. 208 x 136 mm. Language: English . Brand New Book. Janet Malcolm s In the Freud Archives and The Journalist and the Murderer, as well as her biographies of Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction - as is the title essay of this collection, with its forty-one false starts, or serial attempts to capture the essence of the painter David Salle, which become a dazzling portrait of an artist. She is among the most intellectually provocative of authors, writes David Lehman in The Boston Globe, able to turn epiphanies of perception into explosions of insight. Forty-one False Starts brings together for the first time essays published over the course of several decades (many from The New Yorker and The New York Review of Books) that reflect Malcolm s preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores the dominating passion of Bloomsbury to create things visual and literary, the passionate collaborations behind Edward Weston s nudes, and the psyche of the German photographer Thomas Struth. She delves beneath the onyx surface of Edith Wharton s fiction, appreciates the black comedy of the Gossip Girl novels, and confronts the false starts of her own autobiography. As Ian Frazier writes in the introduction, Over and over Malcolm has demonstrated that an article in a magazine-something we see every day-can rise to the highest level of literature. Nº de ref. de la librería AAS9780374534585

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Descripción Farrar, Straus Giroux Inc, United States, 2014. Paperback. Estado de conservación: New. Reprint. 208 x 136 mm. Language: English . Brand New Book. Janet Malcolm s In the Freud Archives and The Journalist and the Murderer, as well as her biographies of Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction - as is the title essay of this collection, with its forty-one false starts, or serial attempts to capture the essence of the painter David Salle, which become a dazzling portrait of an artist. She is among the most intellectually provocative of authors, writes David Lehman in The Boston Globe, able to turn epiphanies of perception into explosions of insight. Forty-one False Starts brings together for the first time essays published over the course of several decades (many from The New Yorker and The New York Review of Books) that reflect Malcolm s preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores the dominating passion of Bloomsbury to create things visual and literary, the passionate collaborations behind Edward Weston s nudes, and the psyche of the German photographer Thomas Struth. She delves beneath the onyx surface of Edith Wharton s fiction, appreciates the black comedy of the Gossip Girl novels, and confronts the false starts of her own autobiography. As Ian Frazier writes in the introduction, Over and over Malcolm has demonstrated that an article in a magazine-something we see every day-can rise to the highest level of literature. Nº de ref. de la librería AAS9780374534585

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Descripción Farrar, Straus & Giroux Inc. Paperback. Estado de conservación: new. BRAND NEW, Forty-One False Starts: eEssays on Artists and Writers, Janet Malcolm, Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her biographies of Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction - as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which become a dazzling portrait of an artist. "She is among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Forty-one False Starts brings together for the first time essays published over the course of several decades (many from The New Yorker and The New York Review of Books) that reflect Malcolm's preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores the "dominating passion" of Bloomsbury to create things visual and literary, the "passionate collaborations" behind Edward Weston's nudes, and the psyche of the German photographer Thomas Struth. She delves beneath the "onyx surface" of Edith Wharton's fiction, appreciates the black comedy of the Gossip Girl novels, and confronts the false starts of her own autobiography. As Ian Frazier writes in the introduction, "Over and over Malcolm has demonstrated that an article in a magazine-something we see every day-can rise to the highest level of literature.". Nº de ref. de la librería B9780374534585

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Janet Malcolm
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Descripción Paperback. Estado de conservación: New. 137mm x 25mm x 208mm. Paperback. Malcolm brings together for the first time essays published over the course of several decades (many from "The New Yorker" and "The New York Review of Books") that ref.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 298 pages. 0.353. Nº de ref. de la librería 9780374534585

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Descripción Farrar, Straus and Giroux. Paperback. Estado de conservación: New. Paperback. 320 pages. Dimensions: 8.2in. x 5.3in. x 0.9in.A National Book Critics Circle Finalist for CriticismA deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolms In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfictionas is the title essay of this collection, with its forty-one false starts, or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is among the most intellectually provocative of authors, writes David Lehman in The Boston Globe, able to turn epiphanies of perception into explosions of insight. Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsburys obsessive desire to create things visual and literary; the passionate collaborations behind Edward Westons nudes; and the character of the German art photographer Thomas Struth, who is haunted by the Nazi past, yet whose photographs have a lightness of spirit. In The Woman Who Hated Women, Malcolm delves beneath the onyx surface of Edith Whartons fiction, while in Advanced Placement she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In Salingers Cigarettes, Malcolm writes that the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salingers helplessly uncontaminated heroes and heroines. Over and over, as Ian Frazier writes in his introduction, she has demonstrated that nonfictiona book of reporting, an article in a magazine, something we see every daycan rise to the highest level of literature. One of Publishers Weeklys Best Nonfiction Books of 2013 This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Nº de ref. de la librería 9780374534585

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