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David Markson: The Last Novel

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David Markson The Last Novel

The Last Novel: краткое содержание, описание и аннотация

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In recent novels, which have been called "hypnotic," "stunning," and "exhilarating," David Markson has created his own personal genre. In this new work, an elderly author (referred to only as "Novelist") announces that since this will be his final effort, he has "carte blanche to do anything he damned well pleases." Pressed by solitude and age, Novelist's preoccupations inevitably turn to the stories of other artists — their genius, their lack of recognition, and their deaths. Keeping his personal history out of the story as much as possible, Novelist creates an incantatory stream of fascinating triumphs and failures from the lives of famous and not-so-famous painters, writers, musicians, sports figures, and scientists. As Novelist moves through his last years, a minimalist self-portrait emerges, becoming an intricate masterpiece from David Markson's astonishing imagination. Through these startling, sometimes comic, but often tragic anecdotes we unexpectedly discern the entire shape of a man's life.

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Said Louis Aragon.

Novelist’s isolation — ever increasing as the years pass also.

Days on which he is aware of speaking to no one at all, for example, except perhaps a checkout clerk, or his letter carrier, or some basically anonymous fellow tenant in the elevator.

Matt Arnold, he was commonly called.

Jack Galsworthy.

The grete poete of Ytaille.

Chaucer referred to Dante as — in the late fourteenth century.

Though there would be no English translation of the Divine Comedy until 1785.

Shakespeare’s name, you may depend on it, stands absurdly too high and will go down.

Insisted Byron.

Was he Christian, Jewish, or atheist? Samuel Beckett was once asked in a Dublin courtroom. To which:

None of the three.

The extant application for a reader’s ticket at the British Museum signed by Arthur Rimbaud on March 25, 1873, attesting that he has read the regulations for the Reading Room and that he is not under twenty-one years of age — when in truth he was still only eighteen.

Catullus, informing friends that he is broke:

With nothing but cobwebs in my wallet.

The Shakespeare of the lunatic asylum.

An early French critic called Dostoievsky.

Foul. Like a rat, slithering along in hate. He is not nice.

Being D. H. Lawrence’s later view.

The concept of life after death should be empathically promulgated by the state, Plato said.

If only so that soldiers would be willing to die in battle.

George Washington left no children of his own.

A great-granddaughter of Martha’s, by way of her earlier marriage, married Robert E. Lee.

The most repulsive thing I ever saw or heard in my life.

Said Clara Schumann of Tristan und Isolde.

Plutarch, who relinquished fame and power in Rome to live quietly and do his writing in Chaeronea, near Delphi.

A small town that would have been even smaller if I left.

Brave translunary things.

Michael Drayton saw in Marlowe.

Intemperate & of a cruel hart.

Thomas Kyd noted of him instead.

For half a dozen years, in his middle and late fifties, Oskar Kokoschka was forced to turn out little other than watercolors — because he generally could not spare the few dollars for oils and canvas.

Cry, art, cry, and loudly lament.

No one, any longer, desires you.

Woe is me.

— Lettered Lucas Moser, a minor German painter, onto an altarpiece in 1431.

Fortune favors the brave, says Virgil.

Presumably aware that Terence had said it earlier.

Brunelleschi once carved a wood crucifix by which Donatello was so impressed that he could only gape in astonishment — while also spilling the apron full of eggs he had been bringing to Brunelleschi’s studio for their lunch.

Tennyson was once so drunk at the end of a London dinner that he started to leave by way of the fireplace.

I sing, as the Boy does by the Burying Ground — because I am afraid.

El Greco. Vermeer. Dieric Bouts. Frans Hals.

Each of whom was essentially forgotten for at least two centuries.

Or longer.

Bombastic nonsense. Concepts bordering on madness.

Humbug.

Schopenhauer found in Hegel.

The anecdote, passed on as genuine, about Beaumont and Fletcher once being angrily accused of high treason by strangers in a tavern who had become convinced they were plotting to kill the king — when in actuality they had been discussing the outline of a new play.

He had often regretted opening his mouth, said Simonides.

But he could not recall having ever caused any major catastrophe by keeping it shut.

Literature is the art of writing something that will be read twice.

Said Cyril Connolly.

England expects that every man will do his duty.

Every man, on Nelson’s flagship the Victory, incidentally including boys of ten and twelve, some having been caught up by press gangs.

During most of his adult life, Joshua Reynolds made use of an ear trumpet.

And in his final years became almost totally blind.

Beethoven’s unkempt, laundry-strewn Vienna flat.

While beneath the piano, recollected at least one visitor, his chamber pot — unemptied.

John Locke died while sitting in a drawing room listening to someone read from the Psalms.

Novalis died while listening to a relative play the piano.

The wintry conscience of a generation.

V. S. Pritchett called George Orwell.

A poem by Theocritus written in Alexandria ca. 270 BC–Complaining that the streets were too crowded.

Antonin Artaud spent nine of his last eleven years in insane asylums.

For decades, next door to the building in The Hague that had housed Spinoza’s attic:

The Spinoza Saloon.

Man is the only animal that knows he must die.

Said Voltaire.

St.-John Perse. Who was translated into English by Eliot.

And into German by Rilke.

September 9, 1960, Jussi Bjoerling died on.

Looked into by church authorities at Arnstadt in 1706, where Bach at twenty was organist:

By what right he had recently caused the strange maiden to be invited into the organ loft?

One day I wrote her name upon the strand.

A Man of Genius whose heart is perverted.

Wordsworth called Byron.

The most vulgar-minded genius that ever produced a great effect in literature.

George Eliot phrased it.

After devoting years to the score for Pelléas et Méllisande, Debussy played it through for Maurice Maeterlinck, on whose play it was based. Maeterlinck repeatedly dozed off in his chair.

Henry Moore was gassed in the trenches in World War I.

The Bateau-Lavoir, the legendary former Montmartre piano factory broken up into artists’ studios, where Picasso contrived any number of his early masterpieces — while living with no running water and only one communal toilet.

And which sixty years later was named a national historical monument — only to burn to the ground a few months afterward.

Continental degeneracy, Thomas Jefferson was several times condemned for.

Because of a chef who had been trained in Paris, Patrick Henry explained.

The bleak image Novelist is granted of himself as he asks a question of a local pharmacist — and becomes aware of the woman contemplating the conspicuously threadbare and even ragged ends of his coat sleeves.

Writing is the only profession where no one considers you ridiculous if you earn no money.

Said Jules Renard.

Gilda, in Rigoletto. Whom Mattiwilda Dobbs sang as at the Metropolitan two years after Marian Anderson had done Ulrica in Un Ballo in Maschera — making her the first black soprano to perform there in a romantic role opposite a white tenor.

Jack Dempsey’s claim that he was partly Jewish.

Via a great-great-grandmother named Rachael Solomon.

Chaucer’s personal library. The guess being forty volumes, presumably most of them in Latin.

Leonardo’s. Known to have contained thirty-seven.

Joseph Conrad spoke English with such a thick, partially French accent that people often had extraordinary difficulty in understanding him.

Le Bateau ivre.

Margot Fonteyn, in an early discussion of women’s liberation:

Will it mean I have to lift Nureyev, instead of vice versa?

Xerxes: Go, and tell those madmen to deliver up their arms.

Leonidas: Go, and tell Xerxes to come and take them.

George Sand, re an 1873 literary evening:

Flaubert talks with animation and humor, but all to do with himself. Turgenev, who is much more interesting, can hardly get a word in.

Parodying without taste or skill. Very near the limits of coherence.

Said the Times Literary Supplement of The Waste Land.

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