A Quote by Tyler Cowen
Marcel Proust shut out visitors from his cork-lined room, where he wrote, but he probably expected to be immortalized in the literary canon. Even the most introverted drives and motives are set in a social context and amplified by the potential for achieving fame.
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I love Marcel Proust, but I leave him to his nostalgia. I don't approach art the way most people do. I don't get into Proust by imagining that I am Charlus or whoever. It's the same thing in painting - I try to look at it objectively. There's no pathos in that. It's like Bach's "Goldberg Variations." They have to be approached with a scalpel.
You have two types of writers: one like Proust who was locked in his room and wrote the masterpiece. And the other type was Hemingway who celebrated life and also wrote a masterpiece.
Used to be in the old days, only the pulp writers wrote like machines. Now everybody is expected to be literary John Henrys. So in that context someone like me is an anomaly.
The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We're increasingly adrift in a grey void of aesthetic relativism.
I do study Marcel Proust, for multiple technical virtuosities but also his swerve, as you say, between characters and in scenes. Certain films can help for that, too, in terms of understanding how multiple conversations at a table, or in a room, can take place and remain separate, and dissonant, and also gather themselves, accidentally, into a collective rhythm and an affect.
Most people who have grown up introverted in this very extroverted culture of ours have had painful experiences of feeling like they are out of step with what's expected of them. Parenting can pose unique challenges for introverted parents, who fear that their own painful experiences will be repeated in their children's lives.
I still consider myself to be introverted, but everyone has a side of themselves that is amplified. Performers have to learn to tap into that, even if it's not natural.
If there was ever a bigger pansy than my father, it was Marcel Proust.
But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.
Since the purpose of reading, of education, is to become good, our most important task is to choose the right books. Our personal set of stories, our canon, shapes our lives. I believe it is a law of the universe that we will not rise above our canon. Our canon is part of us, deeply, subconsciously. And the characters and teachings in our canon shape our characters--good, evil, mediocre, or great.
Iago is one of the most liked characters in Shakespeare's canon, and he's the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in - and yet audiences adore that character.
A large, still book is a piece of quietness, succulent and nourishing in a noisy world, which I approach and imbibe with "a sort of greedy enjoyment," as Marcel Proust said of those rooms of his old home whose air was "saturated with the bouquet of silence."
Most people who have grown up introverted in this very extroverted culture of ours have had painful experiences of feeling like they are out of step with what's expected of them.
The same tantalizing guile and sublime skill....[The series is] reinforced in its claim to be one of the major literary works of this century....Only two other writers that this reviewer can think of have each created an entire, discrete and compelling world, a totally believable entity which one might wish to inhabit, and they are Joyce and Proust. It is not pretentious to place Patrick O'Brian in the first canon of literature.
I read "Remembrance of Things Past" in the original French. I never start the day without reading me some [Marcel] Proust.
I suggest in my own discussion of this episode, Mann invites us to set the attempt to philosophize about his predicament in the context of Aschenbach's life. The literary presentation thus adds to the naked philosophical skeleton.
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