By Siri Hustvedt
Publish yr note: First released 2005
From the writer of the foreign bestseller What I Loved, a provocative selection of autobiographical and significant essays approximately writing and writers.
Whether her topic is becoming up in Minnesota, cross-dressing, or the radical, Hustvedt's nonfiction, like her fiction, defies effortless categorization, elegantly combining mind, emotion, wit, and fervour. With a gentle contact and consummate readability, she undresses the cultural prejudices that veil either literature and existence and explores the a number of personalities that necessarily inhabit a writer's brain. Is it attainable for a lady within the 20th century to propose the corset, and even as method with authority what it really is prefer to be a guy? Hustvedt does. Writing with rigorous honesty approximately her personal divided self, and the way this has formed her as a author, she additionally techniques the works of others--Fitzgerald, Dickens, and Henry James--with revelatory perception, and a practitioner's figuring out in their art.
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Additional info for A Plea for Eros: Essays
Spell-check and grammar checks are capable of helping only the very ignorant to avoid only the most obvious of common errors. Anyone with linguistic sophistication knows that spell-checks call attention irritatingly to vocabulary missing from the electronic dictionary and encourage a false sense of security by ignoring misspellings that produce new words – spell checks may catch ‘‘innocent typos’’ but do nothing for sophistications, which of all typos are the most damaging. Although the avoidance of typographical errors is a very important aspect of the quality of texts, it is not the main concern here, which is to focus on a quality of texts that is the special province of textual studies and scholarly editing.
Where once all textual scholars agreed – Fredson Bowers and James Thorpe2 told us on several occasions, perhaps more hopefully than accurately – that the goal of textual studies and the aim of scholarly editions was to establish the text of the author’s ﬁnal intentions and that 1 2 This chapter is based on a paper delivered at the ‘‘Moving Text into E-Space’’ Conference, National University of Singapore, 31 July –2 August 2000. ’’ He admits, of course, that ‘‘this ideal is unattainable in any ﬁnal and complete and detailed sense,’’ Principles of Textual Criticism (San Marino: Huntington Library, 1972), 50.
171–91. I am indebted for this idea to Paul Eggert, ‘‘The Golden Stain of Time,’’ Books and Bibliography: Essays in Commemoration of Don McKenzie, ed. John Thomson (Wellington: Victoria University Press, 2002), pp. 116–28. See also Burghard Dedner’s ‘‘Editing Fragments as Fragments,’’ TEXT 16 (2004), 97–111. Complexity, endurance, and scholarship 27 fully in the moment of our philosophical, aesthetic, intellectual, and sensuous engagements with art and artifacts. However, one must pay no attention whatsoever to nay sayings by new gods.