“In Rilke’s essay on Auguste Rodin, written in the same year, he describes the sculptor’s visits to the Jardin des Plantes early in the morning to sketch the sleepy animals. And later on, in Rodin’s studio on the Rue de l’Université, he observes a tiny plaster cast of an antique tiger that Rodin treasured: ‘There is a cast of a panther, of Greek workmanship, hardly as big as a hand…. If you look from the front under its body into the space formed by the four powerful soft paws, you seem to be looking into the depths of an Indian stone temple; so huge and all-inclusive does this work become.’” Henri Cole on the poet and a place that inspired his work.
“What you might call an invisible economy of house sitters exists across the country,” writes Aaron Gilbreath in the Paris Review. His account of the generosity and clean counter-spaces of friends is a humbling reminder of the flip side of creative work.
“Most writers … don’t ask questions of a journalist,” writes How to Read a Novelist author John Freeman. But what of those that do? Over the course of a fifteen year career, Freeman has found that “what the novelists asked of me told me [a great deal] about them,” and that a big problem with the standard format for author interviews, after all, is that “the conventions of the interview deprive us of one thing a novelist does quite a bit, which is ask questions.” (Bonus: Freeman will be in conversation with Jennifer Egan Thursday night at McNally Jackson.)