Recommended reading: Pankaj Mishra and Benjamin Moser debate the continued possibility and relevance of Ezra Pound‘s “Make it New” for The New York Times Books Bookends.
The story of how a publishing house began is the definition of literary inside baseball, but this piece by Jonathan Galassi — in which the FSG president responds to an upcoming book on the heyday of his company — does a pretty nice job of spurring a general reader’s interest. Among other things, it reveals that First Wife Dorothea Straus once called the company’s office “a sexual sewer.”
Is that a severed prostitute’s nipple in my Mozart? At City Journal, Heather MacDonald mourns the rise of slick, irreverent productions of classical operas in Europe known as Regietheater (director’s theater), a theory of opera direction that holds the director’s take on an opera to be as (0r more) important than the artist’s text.
“There is always something lost, or exchanged, when the imagined world evoked by the written word, unique for every reader, is replaced by a provided set of visual references. In this particular case, the artist is faced with translating the unbelievable, even the metaphysical, into visual imagery, and within a relatively constrained form.” Jenna Brager on Hope Larson’s graphic novel adaptation of A Wrinkle in Time.