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The Case of Kate O'brien's Mary Lavelle
ariel: a review of international english literature ISSN 0004-1327 Vol. 41 No. 2 Pages 47–74 Copyright © 2011 Literary Criticism and the Recovery of Banned Books: The Case of Kate O’Brien’s Mary Lavelle Brad Kent In discussing a given work and writer, one of the critic’s implicit ob- jectives is to make a case for or against their inclusion in the literary canon. The political nature of this objective is heightened in the case of previously censored books that have remained relatively marginal and is especially emphatic in situations wherein a novel is banned almost im- mediately after its publication. Because of the rapidity of the ban, often the book does not receive an initial readership. As a result, the book in question becomes cloaked in a form of silence, its contents known to a select few who are connected in high cultural circles while the mass public remains largely ignorant of its existence.1 Kate O’Brien’s Mary Lavelle is one such novel. Published in 1936 and banned in Ireland on 29 December of that same year, its Prohibition Order under the Censorship of Publications Act of 1929 was not revoked until 1967, when the passage of amending legislation released all titles that had been banned for a time of twelve years or more.2 It is therefore not surprising to find that much of the critical work undertaken on the novel has been in the post-1970 period, although the establishment of Irish Literature as a serious field of study, the ever-increasing academic publishing industry, and the institutional acceptance of more women and women writers were further contributing factors. -
Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En Ligne], Mis En Ligne Le 18 Septembre 2017, Consulté Le 16 Février 2021
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 15 | 2017 Lolita at 60 / Staging American Bodies Édition électronique URL : http://journals.openedition.org/miranda/10470 DOI : 10.4000/miranda.10470 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En ligne], mis en ligne le 18 septembre 2017, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/10470 ; DOI : https:// doi.org/10.4000/miranda.10470 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Les 60 ans de Lolita Introduction Marie Bouchet, Yannicke Chupin, Agnès Edel-Roy et Julie Loison-Charles Nabokov et la censure Julie Loison-Charles Lolita, le livre « impossible » ? L'histoire de sa publication française (1956-1959) dans les archives Gallimard Agnès Edel-Roy Fallait-il annoter Lolita? Suzanne Fraysse The patterning of obsessive love in Lolita and Possessed Wilson Orozco Publicités, magazines, et autres textes non littéraires dans Lolita : pour une autre poétique intertextuelle Marie Bouchet Solipsizing Martine in Le Roi des Aulnes by Michel Tournier: thematic, stylistic and intertextual similarities with Nabokov's Lolita Marjolein Corjanus Les « Variations Dolores » - 2010-2016 Nouvelles lectures-réécritures de Lolita Yannicke Chupin Staging American Bodies Staging American Bodies – Introduction Nathalie Massip Spectacle Lynching and Textual Responses Wendy Harding Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States Thibaud Danel Singing and Painting the Body: Walt Whitman and Thomas Eakins’ Approach to Corporeality Hélène Gaillard “It’s so queer—in the next room”: Docile/ Deviant Bodies and Spatiality in Lillian Hellman’s The Children’s Hour Sarah A. -
Maurice Girodias, a French Publisher and an Author, 71 - the New York Times
11/2/2018 Maurice Girodias, A French Publisher And an Author, 71 - The New York Times https://nyti.ms/29jUFlR ARCHIVES | 1990 Maurice Girodias, A French Publisher And an Author, 71 Special to The New York Times JULY 5, 1990 About the Archive This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to [email protected]. Maurice Girodias, a French publisher whose early editions of such books as Vladimir Nabokov's ''Lolita'' and Henry Miller's ''Tropic of Capricorn'' led him into long battles with French censors, died here today at the age of 71, apparently of a heart attack. Mr. Girodias, who was being interviewed on the Jewish Community Radio when he fell ill, also published works by Samuel Beckett, Jean Genet, Lawrence Durrell, J. P. Donleavy, William Burroughs and Georges Bataille, although he was best known for first bringing ''Lolita'' into print. He began his publishing career in the 1930's as a teen-age assistant to his father, Jack Kahane, who first published Henry Miller's ''Tropic of Cancer'' and who formed part of the literary circle flourishing in Paris at the time. After World War II, he founded Olympia Press, but it foundered under the pressure of censors who banned some of its editions as pornographic. In the early 1960's he opened a night club, but this was closed by the police after he presented a show inspired by the Marquis de Sade's ''Philosophy in the Bedroom.'' In 1964, after being banned from publishing for 90 years, Mr. -
C L O U D S H I L L B O O
C L O U D S H I L L B O O K S 27 BANK STREET • NEW YORK, NY 10014 212-414-4432 • 212-414-4257 FAX • [email protected] HENRY MILLER COLLECTION “I DETEST THE ILLUSTRATIONS” 1. TROPIQUE DU CANCER. Paris: Deux-Rives, 1947. Limited Edition. Unbound signatures in wrappers and a slipcase. One of 750 copies. Translated into French by Paul Rivert, with a Preface by Henri Fluchère. Illustrated with original lithographs by Timar. This edition contains a thirteen-page essay on Miller‟s writing, “Le Lyrisme de Henry Miller” by Henri Fluchère, which does not appear in any American or British edition. While striking and unusual due to colorful illustrations and being issued in an unbound state, Miller‟s reaction to this edition was not favorable. Writing to J. Rives Childs on June 24, 1950, Miller says, “Incidentally, there‟s a deluxe illustrated edition of Cancer I never mention… because I detest the illustrations – by Timar…” Miller appears in a number of them and a line drawing which appears on the title page has his nose drawn as a penis. Wrappers lightly creased at the spine, else a fine copy. 2. TROPIC OF CANCER. New York: Grove Press, 1961. First Grove Press Trade Edition in dust jacket. With an Introduction by Karl Shapiro and a Preface by Anaïs Nin. Ownership signature on the front free endpaper, else a very good copy in a very good jacket. Henry Miller was a leading example of a special kind of writer who is essentially seer and prophet, whose immediate ancestor was Rimbaud, and whose leading exponent was D.H. -
City Lights Books Records, 1953-1970
http://oac.cdlib.org/findaid/ark:/13030/kt5489q50w Online items available Finding Aid to City Lights Books Records, 1953-1970 Finding Aid written by Bancroft Library staff; revised by Tanya Hollis and Holly Fox. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ © 2005 The Regents of the University of California. All rights reserved. Finding Aid to City Lights Books BANC MSS 72/107 c 1 Records, 1953-1970 Finding Aid to City Lights Books Records, 1953-1970 Collection number: BANC MSS 72/107 c The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Finding Aid Author(s): Finding Aid written by Bancroft Library staff; revised by Tanya Hollis and Holly Fox. Finding Aid Encoded By: GenX © 2014 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: City Lights Books records Date (inclusive): 1953-1970 Collection Number: BANC MSS 72/107 c Creator: City Lights Books Extent: 15 boxes, 4 cartons, 1 oversize box, 1 portfolio, and 4 oversize folders(circa 13 linear feet)7 digital objects (9 images) Repository: The Bancroft Library. University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Abstract: Consists of correspondence, editorial and administrative files. Correspondents include Allen Ginsberg, Gregory Corso, William S. -
Maurice Girodias Collection MS 4054
University Museums and Special Collections Service Maurice Girodias Collection MS 4054 32 letters to Paul Kahane and 1 letter to Michael Allen The Collection covers the year’s 1961-1994. The physical extent of the collection is c. 81 items. Introduction Maurice Girodias was born in 1919, the son of Jack Kahane, who came from an Anglo-Jewish family in Manchester, and his French wife, Marcelle Girodias, whose family had made their fortune building railways in Argentina. Jack Kahane set up in business in Paris as a publisher and founded the Obelisk Press which produced the work of writers prevented by censorship laws from being published in their own countries, such as Henry Miller, as well as more conventional pornography. The young Maurice assisted his father and designed the cover for Miller's Tropic of Cancer when he was around the age of fourteen. After his father's early death in 1939, Maurice used his father's Paris office to start a business publishing art books, and at the age of 20 managed to survive Paris, World War II, Occupation and paper shortages. Girodias took his mother’s non- Jewish maiden name during World War II. After the war, with his brother Eric Kahane, Girodias expanded operations, publishing Zorba the Greek (in French) and Henry Miller's Sexus, among other texts. The latter volume touched off a firestorm in France, with trials and arrests for obscenity. The 'Affaire Miller' ended with Girodias out of jail, but bankrupt and no longer in control of his company. After a period of near destitution living in dingy hotel rooms with his brother on a diet of bread and potatoes, Maurice recovered sufficiently to start a new publishing business, the Olympia Press, in 1953 and employ his brother as a translator. -
Beach Beneath the Street
THE BEACH BENEATH THE STREET THE BEACH BENEATH THE STREET THE EVERDAY LIFE AND GLORIOUS TIMES OF THE SITUATIONIST INTERNATIONAL MCKENZIE WARK London • New York This edition fi rst published by Verso 2011 © McKenzie Wark 2011 All rights reserved The moral rights of the author have been asserted 1 3 5 7 9 10 8 6 4 2 Verso UK: 6 Meard Street, London W1F 0EG US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 www.versobooks.com Verso is the imprint of New Left Books ISBN-13: 978-1-84467-720-7 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress Typeset in Cochin by MJ Gavan, Truro, Cornwall Printed in the US by Maple Vail Contents Acknowledgments vii Introduction: Leaving the Twenty-First Century 1 1 Street Ethnography 7 2 No More Temples of the Sun 19 3 The Torrent of History 33 4 Extreme Aesthetics 45 5 A Provisional Micro-Society 61 6 Permanent Play 75 7 Tin Can Philosophy 83 8 The Thing of Things 93 9 Divided We Stand 109 10 An Athlete of Duration 125 11 New Babylon 135 12 The Beach Beneath the Street 147 Notes 161 Index 191 “Monsters of all lands unite!” Michèle Bernstein In memory of: Helen Mu Sung Andrew Charker Stephen Cummins John Deeble Colin Hood Shelly Cox in girum imus nocte et consumimur igni Acknowledgements My only qualifi cation for writing this book is some time spent in a certain militant organization, then in a bohemian periphery, and sub- sequently in avant-garde formations that met at the nexus of media, theory and action. -
Earl Kemp: E*I* Vol. 4 No. 5
Me and Maurice A homage to Maurice Girodias Edited by Earl Kemp This is an eBook Edited and published by Earl Kemp P.O. Box 6642 Kingman, AZ 86402-6642 [email protected] Produced and distributed by Bill Burns FTL Design/eFanzines.com This is for the two women who did more to make of Maurice Girodias much more than he could ever have made of himself Muffie Wainhouse (Paris) Uta West (New York) I showed Maurice [Girodias] a book I had brought with me. For those who remember, [President Johnson]… had appointed a four-star commission to investigate pornography. Finding it not difficult to find fact to support the obvious, they concluded…that sexually explicit material was at best—like all art—a divine intrusion into human affairs and at worst innocuous clichés and kitsch, solitary masturbation being its predominant effect. Nixon, of curse, denounced…[Johnson’s] commission. But since, by law, the text of U.S. government printed mater is uncopyrightable, an enterprising soul had made a lavish full-color Illustrated Presidential Report of the Commission on Obscenity andPornography (1970). It was published by Greenleaf Classics, Inc. of San Diego, Maurice’s sworn enemy. Photos of sperm squirting on faces? Yes. Sucking? Yes. Fucking? Yes. Hetero and homo? Yes. Groups? Yes. S&M, B&D? Yes. Whips and chains? Yes. Animals? Yes. Children? Yes. Etc.? Yes. Yes. Yes. Yes. Even underground cartoon strips salaciously ridiculing authority. The mind boggled. All the juice that-is-the-case was there ornamenting a dry summary written by civil servants, academics, clergymen, and judges. -
Read Chapter 1 of the CANDY Men Here
Part I BEYOND THE BEAT She dreamed that she and her father were together in a great wide field of wild flowers on a beautiful summery day. He was reciting poems of Mallarmé, but it was as if he himself had written them; and Candy was much younger, and she ran about the fields picking flowers, and though she would some- times be at quite a distance from her father, she could hear every line he spoke. He spoke the lines perfectly, with exactly the right intonation and feel- ing for each word. Sometimes when he finished a poem, he would say: “That wasn’t a bad poem. Now here’s another — this is one I wrote for you, sweet- heart; it came to me in a flash — in a terrible, beauti- ful flash just as I was releasing the sweet powerful seed from my testis that made you!” — Candy Chapter 1 Paris: 1947–1953 erry Southern and Mason Hoffenberg met in Paris in 1948. TBoth had come on the GI Bill and were — ostensibly — studying at the Sorbonne. Exchanging glances at the Café Royal on St. Germain, they must have immediately recognized each other as kindred spirits. They were an odd pair. Mason’s Peter Lorre–like, hunched, bug-eyed demeanor (very New York) was in sharp con- trast to Terry’s Presbyterian, Texas-bred, hawklike features and reserved manner. At times they were like a comedy team — enter- taining each other and those around them. They shared a similar extreme distaste for the clichéd or hack- neyed — the two of them could be very dismissive — and very funny. -
Chapter One. the CREATION of LOLITA
The Creation of Lolita Chapter One THE CREATION OF LOLITA Vladimir Nabokov declared that the “first little throb” of Lolita went through him in 1939 or early 1940 when he was living in Paris (“On a Book Entitled Lolita”; L 311). As we shall see below, however, the specific theme of an older man being attracted to a much younger woman (or girl) long predates this period in Nabokov’s life. Nonetheless, in the fall of 1939 Nabokov sat down to write his first extended treatment of the Lolita plot: an adult man marries a widow in order to gain access to the widow’s young daughter. This tale, entitled The Enchanter (Volshebnik in Russian), was written from a very different perspective than Lolita. The story of the protagonist’s obsession in The Enchanter is told from an external, third-person point of view, whereas Lolita is narrated by the obsessed man himself, and this shift in point of view opened up for Nabokov the opportunity to attempt his daring artistic experiment: he allows his abhorrent criminal protagonist the chance to plead his own case and to cloak his beastly crimes in language and images that are as intriguing as they are disturbing. Nabokov perhaps had this later perspective in mind when he expanded upon his remark about his “initial throb.” He states that this “initial shiver of inspiration” was prompted by a newspaper story about an ape in the Jardin des Plantes who was coaxed by a researcher into producing a charcoal drawing. The drawing showed the bars of the “poor creature’s cage” (L 311). -
The Courant Sponsored by the Syracuse University Library Associates ISSN 1554-2688
pecial Collectio n of the S ns Researc lleti h Cen A Bu ter number five fall 2006 THE COUraNT Sponsored by the Syracuse University Library Associates ISSN 1554-2688 Exhibition on the Painters and Poets of the New York School Will Travel to Lubin House The Special Collections Research Center is currently exhib- iting material from the recently processed Grace Hartigan Papers, as well as from the university art galleries, the Grove Press Archives, and our extensive holdings of art and liter- ary magazines from the 1950s. Entitled Imagine! Painters and Poets of the New York School, the exhibition is now open at E. S. Bird Library and will be available there until 15 December 2006. It will then travel to the Louise and Bernard Palitz Gallery at the Joseph I. Lubin House in New York City, with an opening reception there on 22 March 2007. Grace Hartigan (1922–) was a major participant in the explosion of creative energy that was the New York artis- tic and literary scene of the early 1950s. An important ab- stract expressionist painter, Hartigan was included in the famous show Twelve Americans at the Museum of Modern Art in 1956. Her friends and correspondents included Frank O’Hara, Larry Rivers, Barbara Guest, and Joan Mitchell. The exhibition will highlight Hartigan’s collaboration with poets, especially with Frank O’Hara and Barbara Guest. The Persian Jacket by Grace Hartigan. This silkscreen print on paper from 1953 is a variation on the artist’s oil painting of the same name that was purchased by the Museum of Modern Art. -
Kerouac and Burroughs in Tangier
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 18 (2016) Issue 5 Article 7 Kerouac and Burroughs in Tangier Regina Weinreich School of Visual Arts Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities