«Не всегда плох» или «приятное исключение»: поэт Георгий Рыбинцев и его критики (1913–1914 гг.)

In this interview, conducted in Bombay in June 2015, Gieve Patel reflects on his career as a poet, playwright, publisher, artist and educator, from his first arts show in 1966 (a year which also saw the publication of his first collection of poems) to the present. Gieve Patel is also a doctor of medicine, and he discusses the significant place afforded to the human body in his work and his “aromantic” approach to the body in poetry. He recalls the vitality of Bombay as an artistic and literary centre in the 1960s and 1970s, the comradeship among artists at that time, and his involvement in the publishing house Clearing House. He is an important poet and artist in Bombay, who to this day maintains creative contacts across generations of artists.

The term editor covers many different roles. The editor of a newspaper, magazine, journal, or newsletter is the person in charge of the direction and contents of the publication. The editor of a collection of essays, poems, or short stories is responsible for selecting the authors to include in the volume and steering the various texts through the publication process. Senior editors at a book, journal, or magazine publishing house make choices about which manuscripts to acquire from the myriad submitted by literary agents and writers themselves. Finally, hands-on editors working on staff for publication companies or freelance editors running their own small businesses need many specialized skills, ranging from proofreading and technical markup to structural editing and copyediting. None of these definitions, however, include the ability to write. Realistically, though, should editors be writers too? Trade-Book Editors If you’re a lead editor at one of the large multinational trade-book publishing houses, the Big Five as they’re called, it certainly helps to be able to write. Contracts there are often signed on the basis of a proposal presented by the author’s literary agent, with the completed manuscript slated to arrive several months later. When that day arrives, the quality of the manuscript sometimes falls far short of the promise in the proposal—it may be rushed, incomplete, unfocused, unpolished, a first draft in every sense of the word. Meanwhile, the publisher’s publicity team has gone into overdrive, raising huge expectations for the book and scheduling promotion events. The book, moreover, is crucial to the firm’s balanced seasonal list and to its bottom line. There is no way that title will be delayed or cancelled. In this scenario, it’s time to bring in the “book doctor”—the editor who can not only edit but write too. This editor becomes a partner with the author in completely reorganizing the manuscript, fixing the pacing, deleting the repetitions, filling in the gaps, and writing an opening scene that will grab readers’ attention and an ending that will leave them feeling satisfied. It may take several weeks, even months of concentrated work, but you don’t give up until you know you’ve got it right. You want bestseller sales figures and positive reviews—and, if you’re fortunate, nominations for literary awards too. Your author will love you, bond with you like a patient to physician, and insist you edit the next manuscript too. 1

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

The Winter 2014-15 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year’s three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited. This staff-edited issue of Ploughshares features a diverse collection of poems, essays, and stories. The prose ranges from surreal humor — David Cameron’s “Mannequin,” about a man’s relationship with a life-size doll he buys to use the HOV lane — to tragedy in Lisa Gruenberg’s essay on the experiences of her Viennese father and his family during the Holocaust. Sherrie Flick’s Plan B essay looks at the joy and rage of gardening, and Nancy Kang and Silvio Torres-Saillaint write an appreciation of the Dominican-American poet Rhina P. Espaillat. The Winter issue also features poetry by Philip Levine, Sherod Santos, Nalini Jones, Laurie Sewall, and Gary Young; an interview with Zacharis Award winner Roger Reeves; and the winners of the annual Emerging Writer’s Contest.

Traian T. Coșovei (1954–2014) was a Romanian poet of the ’80s generation. He was a founding member of the “Cenaclul de Luni” literary circle, a group that would eventually set the tone for much of postmodern Romanian poetry. He was the recipient of a series of prizes, including the Prize of the Romanian Academy and the International Nichita Stănescu Prize. Coșovei published over twenty books of poetry, literary criticism, and prose. These poems are drawn from the collections Ninsoarea electrică (Bucharest: Cartea Românească Publishing House, 1979) and Greva căpşunelor (Bucharest: Libra Publishing House, 2004).

Jean Genet (b. 19 December 1910–d. 15 April 1986) was a 20th-century French poet, novelist, playwright, film director, essayist, and political activist. His work is renowned for its literary experimentation and poetic intensity and for its unequivocal opposition to the norms of bourgeois culture. Genet’s profile was singularly unconventional for a man of letters. His trajectory was far from traditional: abandoned by his mother when seven months old, he was placed in a foster family until his adolescence. He spent much of his teenage years in a reform school, Mettray, before joining the army only to desert soon afterward. Repeatedly convicted over the following decade for petty theft, he began to write in prison at the age of thirty. His use of highly poetic language in conjunction with an extremely explicit, unapologetic treatment of themes such as homosexuality and criminality won him recognition as a major literary figure in a remarkably short space of time. Within ten years, he had published a collection of poems as well as five dense prose texts and two plays, directed a film, and staged a ballet. Moreover, the prestigious publishing house Gallimard had commissioned his “Completed Works” in an unprecedented gesture for a living author, let alone one only forty years old. Genet then published very little over the next five years, before producing three plays in quick succession. Following the suicide of his lover in 1964, Genet claimed that he would write no more and he tore up his manuscripts; although the archives show that he continued to work on a number of projects, he would publish no further major work during his lifetime. He turned to political activism, culminating in 1970 when he accepted an invitation to tour the United States in support of the Black Panthers, and he spent six months with the Palestinian fedayeen in Jordan. By chance, he was one of the first people to enter the camps of Sabra and Shatila after the massacres in 1982; the experience appears to have been decisive in motivating him to return to writing. Although he had been diagnosed with throat cancer in 1979, he spent his final years working on a text about the Palestinian revolution. He died while correcting the proofs of this book, which was published posthumously one month later. He is buried in Larache, Morocco.

In contemporary Romanian literature, we identify a lot of channels of communication between writers and readers or future writers, namely magazines and literary festivals, to which we add publishing houses and literary circles. The aim of this article is to analyze the activity of some of these in order to observe the tools used, resources on websites and social networks. Using the case study method, we came to the conclusion that there is a dialogue on several coordinates and that today's literature has a decisive role in the education of adolescents

The photographic campaigns of Martens in Switzerland and Savoy. Between 1859 and 1864, under the title La Suisse et la Savoie, the Goupil & Cie publishing house produced a set of lithographic prints based on the photographs of Frédéric Martens (1806-1885). This photographer has been largely forgotten today but during his lifetime he had a considerable reputation. The article studies the aesthetic aspects of these views of the Alps, taken in the perspective of a picturesque tradition going back to the late eighteenth century. Their critical reception by contemporaries is also examined, underlining the ambiguous nature of these images, somewhere between scientific documentation and works of art. The article concludes with an analysis of the relations between photography and lithography at this period, the latter process still being a more reliable and cheaper form of image reproduction.

Reviewed by: Fictions of British Decadence: High Art, Popular Writing and the Fin de Siècle, and: Vernon Lee: Decadence, Ethics, Aesthetics Martha Vicinus (bio) Kirsten MacLeod , Fictions of British Decadence: High Art, Popular Writing and the Fin de Siècle (Basingstoke: Palgrave, 2006), ix +222 pages, hardback, £45 (ISBN 0 333 97700 9). Catherine Maxwell and Patricia Pulham (eds), Vernon Lee: Decadence, Ethics, Aesthetics (Basingstoke: Palgrave, 2006), xii + 210 pages, hardback, £45 (ISBN 0 333 97700 9). These books are representative of the current critical reappraisal of the fin-de-siècle, usually defined as the years 1880-1913. Until recently, its literature and authors were condemned to the status of irretrievably minor, haunted by scandal (the trial of Oscar Wilde), suicide (Ernest Dowson and John Davidson), and alcohol (Lionel Johnson died after falling off a bar stool). But then feminist critics discovered the 'New Woman' novels of the period, and Sarah Grand, 'George Egerton', 'Lucas Malet' and others enjoyed a second life. Influential studies by Regenia Gagnier and Jonathan Freedman placed Aestheticism in the context of the market place, demonstrating the power of modern capitalism to turn art and literature into commodities. James A. Nelson and Margaret Stetz unravelled the economics of fine-art publishing, concluding that avant-garde publishers always hoped to turn a profit. Isobel Armstrong and Joseph Bristow, among many others, did much to recuperate forgotten poets, many of whom lived long and vigorous lives. Critics have emphasized the variety of work published during these decades, its marked refusal of Victorian literary norms, and its formal experimentation. Aestheticism was the single most powerful literary movement ofthe late nineteenth century. The groundwork for privileging art over materialism had been laid by that great Victorian moralist, John Ruskin, but a younger generation insisted upon creating art without a moral lesson. Writers such as Walter Pater, John Addington Symonds and Bernard Berenson assumed that their work would appeal only to the enlightened intelligentsia. They laid the ground for professionals – the art connoisseur, interior decorator and high-brow literary critic, who could advise the reader on the best works to admire and purchase. [End Page 158] Karin MacLeod points out in her useful survey, the aesthetic goals of the 1870s and 1880s led naturally to the Decadent movement of the 1890s. Unlike Aesthetes, the Decadents flaunted their dilettantism and desire to shock the bourgeoisie. Following Baudelaire, the Decadents boldly insisted on the beauty of ugliness. The music hall was discovered, and its ribald jokes and saucy lyrics praised as the quintessence of urban life. Writers flaunted their adherence to an aristocratic dilettantism and a working-class sensuality; their notoriety made good copy, even if it did not sell books, as MacLeod astutely notes. MacLeod considers the interpenetration of aesthetic, high art and popular fiction. She shrewdly notes that popular writers such as Marie Corelli exploited the fascination with the lives of the Decadents by proclaiming her superior morality and creating attractively decadent villains. Other women writers found it more difficult to capitalize on the hunger for titillating characters. Such New Women writers as Sarah Grand attacked the trivialization of art by 'clever young men', and argued the importance of literature with a purpose. Nevertheless, her negative portrait of Decadence in The Beth Book (1897) was condemned by some as too preachy and by others as lewd and suggestive. Vernon Lee had attempted to create a satiric portrait of a misogynistic aesthete in her novel Miss Brown (1884). She too had met with a chilly critical reception, even though she was an admired member of London's top literary circles. MacLeod effectively traces the continuing power of male critical authority throughout the period, and the difficulty women faced if they wished to gain both critical respect and a male readership. MacLeod's most original contribution to fin-de-siècle studies is her chapters on two neglected writers, Arthur Machen and M.P. Shiel. Both men began as Decadents, publishing their best known works in John Lane's Keynote series. Machen's The Great God Pan (1894) and Shiel's Prince Zaleski (1895) are what she calls 'a collaboration of high and low' literary elements (128). Machen specialized in combining...

This contribution discusses the historical and cultural context in which the first Italian translation of Die Blechtrommel was published (1962). The relatively late date of publication was due to the political and religious conservatism of the country. Even the left wing cultural scene was marked by a certain dogmatic conformism. This explains the scruples with which Italian publishers read and then rejected Die Blechtrommel. The literary climate only began to change in the beginning of the 1960s with the appearance of journals like Il Verri. The aesthetic programme of the authors and critics who now started to publish had strongly resonated with the transition that was going on in Germany in the same period. The innovations soon had strong repercussions in the publishing sector, especially with regard to the import of foreign works. The change in fortunes for Grass’s novel came when the Feltrinelli publishing house, founded in Milan in 1955, started to take a serious interest in new experimental German literature. This was largely thanks to the enthusiasm and commitment of the young editor Enrico Filippini. The Italian translation finally appeared in the renowned series „I narratori“, which also included other esteemed names from contemporary literature. The novel was presented to the public as a radical representative of experimental iconoclastic literature, an image that was confirmed in the controversial critical reception accorded to the novel.

Universally celebrated as the most prestigious French literary award since its inception in 1903, le Prix Goncourt plays a remarkably influential role in French literature. Linked to complex issues of the commercialization of art, the economic power of publishing houses, and the ambivalent relationship of the reading public to the critical press, the Goncourt represents a controversial phenomenon nervously anticipated every fall. Analysis of the cultural impact and critical reception of three novels recognized by the prize—Jean Rouaud's Les Champs d’honneur, Jean Echenoz's Je m’en vais, and Michel Houellebecq's La Carte et le territoire—reveals a multifaceted cultural network, embodying a fascinating mirror of the French cultural landscape itself. In 1990, the press applauded the first novel of a then-unknown Rouaud, whose book appeared with Minuit (significant because not with Gallimard, Grasset, or Seuil, the conglomerate known as “Galligrasseuil”); his exploration of the motifs of familial and national history resounded throughout France. In 1999, Echenoz's ludic conception of reality as a trompe-l’œil as duplicitous as fiction creates a hybrid text, part roman d’aventures, part polar. Finally, in 2010 Houellebecq offers a sarcastic art-world satire, is accused of plagiarizing Wikipedia, and hands to Flammarion its first Goncourt in two decades.