Like more conventional forms of romance, the first great literary love of my life began with a look. Young readers of Playboy have similar experiences, I believe, with centerfolds: a precise moment – the turning of a page to reveal a face (more likely a body) that haunts the young man for the rest of his days. In bars too, at high school dances, in college dining halls, in lecture classes and seminars such infatuations begin: a single glimpse of an unknown stranger prompts the festerings of fascination and desire. My literary romance began in the pages of A Book of Days for the Literary Year, between June 22nd and June 23rd:This picture, which still hangs above my desk, is Mary McCarthy’s Vassar senior portrait and from the first moment I saw it, I was in love. She was all the things I wanted to be: a writer, beautiful and serious, but also – or so she seemed to me – bright, frank, fearless, alluring. And she was also what I was then: a bit childlike and clean-scrubbed and, perhaps, a bit mischievous (I sense that still in the shadowed corner of her mouth). I have since discovered that McCarthy’s looks were a bit sharper than this picture reveals, and became more so in her 20s and 30s. There are also some ghastly pictures of her in later life (one of her on a panel with W.H. Auden comes to mind – the two look like finalists in a World’s Least Well-Preserved Person contest, and I think I remember McCarthy to be missing a tooth in this one). But in the Vassar portrait she is stunning. I gather from the number of men who fell under her spell (Edmund Wilson, Clement Greenburg, and Philip Rahv among them) that the beauty that won me was real.Is this strange? Or inappropriate? This enthralling first look, this discovery of one of the great literary loves of my life through a visceral, physical attraction to her? My affair ended in an intellectual and aesthetic admiration of McCarthy’s bracing, clean, meticulously observed prose and her total, sometimes aggressive, frankness about sex and everything else in How I Grew, The Group, The Groves of Academe, Cast a Cold Eye, The Company She Keeps, and Intellectual Memoirs. Her bravery (or was it brazenness?) held me rapt and abject even after the original power of the Vassar picture had been diluted somewhat by other, less flattering visions of her. The most famous McCarthy line of all time is one she tossed out about Lillian Hellman on The Dick Cavett Show in 1979. McCarthy had described Hellman as a dishonest writer and Cavett pressed her, “What is dishonest about Lillian Hellman?” McCarthy responded: “every word she writes is a lie, including ‘and’ and ‘the’.” (Hellman responded with a $2.5 million libel suit.) Not until I found Lord Rochester, Leopold von Sacher Masoch, and the Marquis de Sade some years later would someone seem so awe-inspiringly self-assured and terrifyingly bold in thought and word.But the question of beauty remains. Susan Sontag, whom one might have expected to rise above the average woman’s hyper-consciousness of beauty, was by her own account, one of us: “Physical beauty is enormously, almost morbidly, important to me.” In Paradise Lost, the newly-created, unfallen Eve is more taken with her own reflection in a lake than she is with Adam. He is, by her own account,”less fair,/ less winning… than that smooth wat’ry image” of herself. When I started reading McCarthy, I didn’t just want to be able to write like she did, I wanted to be her. I wanted to be what she had been: beautiful, dazzlingly bright and self-certain. Her books were sacred how-to guides that might transform me (however silly or sinister the ladies at jezebel.com may have found the idea of intellectual memoirs as how-to books in Anne’s post last week). But it is laughable: Jon Stewart had a joke about the increasing sexiness and femaleness of cable news anchors – a segment called “News I’d Like to F#@k” and this approach to news-watching was, regrettably, similar to the way (in my too earnest and hopeful teendom) I approached McCarthy – with a confusion of hungers – for beauty, for intellectual acuity. I cannot tell which is which sometimes. I cannot subtract the beauty of the person (beauty I admire; a beauty I covet) from the disembodied voices of the written world. The materiality of the person clings to the writing, gives the words a captivating timbre that the plodding and mousy can never achieve.I remember reading reviews of Marisha Pessl’s novel Special Topics in Calamity Physics (2006) and none of the reviewers seemed capable of talking about the book itself (The Secret History, Redux? – I guess, I have not read it) without first invoking Pessl’s beauty, or other reviewers’ fascination with her beauty, which was the same thing. I do not think that I am alone in my weakness – “partial, prejudiced, & ignorant” I may be – dilettantish, even (as you already know) – but not alone. Perhaps there are earnest and just readers out there who are not drawn in and repulsed so erratically as I am: people who plod dutifully and methodically through expansive reading lists of canonized authors (perhaps they go further – and read chronologically and boy-girl-boy-girl as well!), immune to the charms of such as these. But to belittle the powers of beauty and charm – and the irrational more generally – is not to escape it, and I do not try.Patricia HighsmithAnna Akhmatova, 1924.Sylvia Plath, Yorkshire, 1956, Smith College Mortimer Rare Book Room.Assia Wevill, poet and second wife of Ted Hughes. She committed suicide in 1969, as Plath had before her, but killed her daughter by Hughes as well as herself.
I am a fan of nostalgic genres, as my last list testified: Not the least of the charms of the country house movie, following in the tradition of classical pastoral, is that the country house comes to represent a pre-Lapsarian, Edenic space associated with leisure, pleasure, and harmony. Usually this harmony is destroyed or interrupted (“Brideshead” is the archetypal example of this: Ryder returns to a decayed and abandoned Brideshead as a soldier during World War II, and begins to reminisce about the golden age gone by), but it’s the idea that – however fleeting or fragile – such happiness and peace and pleasure shared with friends is possible.Today I share with you another list, for another nostalgic genre: the school story. These pieces are often simultaneously nostalgic for the youthful abandon and friendship and simple pleasures of schooldays, and meditations on the betrayals and abandonment that turn children into adults. I largely exclude American high school movies (they seems a different beast) in favor of boarding school novels and films:Claudine a l’Ecole, ColetteNicholas Nickleby, Charles Dickens (Oh, the horrors of C19th Yorkshire schools: now in a good movie adaptation with Charlie Hunnam and Jim Broadbent.)Jane Eyre, Charlotte Bronte (and numerous film versions)Vanity Fair, William Makepeace ThackerayThe Group, Mary McCarthyHow I Grew, Mary McCarthy’s autobiographical reminiscences of boarding school in Seattle, and a deflowering scene to match (outdo?) the famous one in The Group”To Serve Them All My Days” (BBC miniseries)School TiesRushmoreThe Prime of Miss Jean Brodie, Muriel Spark (Maggie Smith in her prime playing the titular Miss Jean is a knockout)Picnic at Hanging Rock (awesome and insane – Victorian repressed sexuality done 70’s style – it will haunt with you)The Virgin Suicides (Sofia Coppola was definitely watching Picnic at Hanging Rock before she made this)Young Sherlock Holmes (an early Barry Levinson movie – if you didn’t watch it in the 80’s as a child, do now)Flirting (great Australia movie: Thandie Newton, a very young Nicole Kidman, and Noah Taylor, plus a priceless scene involving boxing and Jean-Paul Sartre)The Children’s Hour, Lillian Hellman (women beware women)Frost in May, Antonia White (also the translator of Colette’s Claudine novels)Maurice, E.M. Forster (novel and film both great – the brief joys and inevitable tragedy of homosexuality in turn of the century England)Trouble at Willow Gables, Philip Larkin (one of my favorite books of all time – PL’s imitation/parody of 1940’s girls school novels is beyond delightful – sensual, campy, absurd, delicious)It Was Fun in the Fourth, Nancy Breary (an original 1940’s author of English girls boarding school novels – a hoot, and great read with the Larkin)Tom Brown’s School Days (oh, brutality. And now in a fine film adaptation with Stephen Fry as headmaster.)”Such, Such Were the Joys” (George Orwell’s essay on the horrors of the English public school, the full text is available at george-orwell.org)Harry PotterA Little Princess, Frances Hodgson Burnet (there’s a recent movie adaptation of this C19th children’s classic, but the book’s great – some problems with Orientalism, I grant you, but I stand by this childhood fave)Dead Poets’ SocietyLost and Delirious (Mischa Barton and Piper Perabo: A Separate Peace/Dead Poets’ Society for girls: also features falconry)A Separate PeaceCruel IntentionsBrick (I know it’s set in an American high school – but it’s so noir-y and all-consuming it feels like a boarding school: plus Joseph Gordon Levitt is becoming Heath Leger circa 10 Things I Hate About You – uncanny)The Skulls (It takes place at a college, but there’s something juvenile about a secret society)Goodbye, Mr. ChipsPrep, Curtis Sittenfeld (I haven’t read it, but I want too)The Emperor’s Club