The Brooknerian

Announced this week, an event in September at Topping and Company, Bath: Hermione Lee discusses her upcoming biography of Anita Brookner. https://www.toppingbooks.co.uk/events/bath/hermione-lee/

As noted in a recent post ( here ), I'm fond of Professor Emma Smith's lecture series on Shakespeare and his contemporaries. Highbrow but accessible, these talks contribute to our continued appreciation of early-modern drama. Professor Smith builds on the curatorial work of commentators over the years, not least in the eighteenth century, when Johnson, Pope and the Shakespeare Ladies Club argued for the preeminence and rehabilitation of the 'Bard'. Professor Smith extends her mission through popular media, appearing regularly on literary podcasts. In one such, on being asked why she loves Shakespeare, Professor Smith responds, Do I? Do I really love Shakespeare? She goes on: Shakespeare is a thing to think with. I adore the conversations it makes possible. A thing to think with . It's a thought-provoking remark, relevant to fandoms of all kinds. It helps me understand my own 'love' of Brookner. I don't read her all the time. I have many other interests. ...

An interior hermetically sealed, a tilted head, a clock just edging beyond a quarter past one, a whole afternoon to be got through... The National Portrait Gallery in London houses five photographs of Anita Brookner ( here ), each of which repays close attention. Anita Brookner by Lucy Anne Dickens The most extreme of Brookner portraits. It is one of a series of photos of art establishment figures from the early 2000s. Each is formal and carefully staged; none is as austere. Lucy Dickens said of the project, 'I am immensely grateful to those who agreed to sit for me, despite the pressures on their time, and in some cases, old age or infirmity. I was met unfailingly with courtesy (and often fish pie).' The only references to Brookner's former career are the pictures on the walls, somewhat artlessly placed. We know Brookner owned an etching by Manet of Baudelaire, and a few watercolours by Edward Lear. The picture on the left has the air of a Watteau. Brookner has a pile of ...

I can't recommend highly enough Professor Emma Smith's podcast lecture series on Shakespeare ( here ). Emma Smith is Professor of Shakespeare Studies at Hertford College, Oxford. She is an active and generous academic whose insights can be enjoyed further on YouTube and on radio programmes like In Our Time . Throughout her lectures Professor Smith poses questions about critical response, genre, style, and intertextuality, all topics of wider relevance. She encourages her students to use their enthusiasms in their work, licensing them to seek comparisons and contrasts between early-modern drama and apparently unrelated cultural phenomena. In her lecture on The Tempest , she says: One association of cultural or aesthetic lateness is as a decline from earlier achievement or prowess . W e might think : Thomas Hardy, Ben Jonson, Alfred Hitchcock, Lady Gaga, Kenneth Branagh, artists who go off rather than on . It sets me thinking. What of Brookner? The first thing to note is that Bro...

Anita Brookner used epigraphs sparingly - in Family and Friends (Goethe), A Closed Eye (James) and Strangers (Freud). The epigraph of her 1991 novel A Closed Eye is a quote from an early Henry James tale called Madame de Mauves (1874).* I have two questions: Which text did Brookner use, and where did she find it? With James, there is often a question of texts. James (unlike Brookner) was an inveterate reviser. He would make minor changes to works between magazine and book publication. And years later, for the New York Edition (1907-9), he reread and substantially revised most of his oeuvre, making significant alterations at the level of the word and sentence to early works like Madame de Mauves . Brookner quotes from the original 1874 version: She strikes me as a person who is begging off from full knowledge, - who has struck a truce with painful truth, and is trying awhile the experiment of living with closed eyes. The New York Edition version (Volume 13) reads: She strikes me as a...

This may, by now, come as a surprise, but Brookner was once disregarded, downgraded and even mocked by her peers. For illustration, consider the comments of Jeanette Winterson ( here ) and Anthony Burgess ( here ). Why the hostility? Coming to fiction after a successful career elsewhere, was Brookner seen as an interloper, a hobbyist, straying from her lane? Something has changed. Time has passed. A major biography is in the offing. Mentions of Brookner in the press nowadays are not only more frequent but more admiring. Writing last year in the Guardian ( here ), in their 'Books of my life' column, the writer Geoff Dyer - lauded by, among others, Zadie Smith - spoke of Brookner in respectful and, one feels, revisionary terms: ... the first 12 novels by Anita Brookner, a subtle and quietly pathological writer. When someone writes essentially the same book over and over you’re in receipt of an enacted philosophical consciousness. Having said that, Brookner’s persistent and gradua...

In an earlier post I asked: In which novel by Anita Brookner is there a reference to the Victorian novelist George Meredith? Answer: Look at Me (1983): I had already got Olivia's Christmas present, a first edition of  The Ordeal of Richard Feveral  [ sic* ], her favourite novel, and I also saw the smile that would break up her little face when I gave it to her. (Ch. 5) The antagonist Alix pooh-poohs this ('Well, I think we can do better than that'). A preference for worthy Victorian fiction represents for Alix all that is wrong in Olivia. Brookner presents Olivia as Alix's passive foil; the reader is invited to take Olivia's part. Olivia, disabled, from a socialist family, is the embodiment of virtue, not least in her liking for George Meredith. Brookner's favouring of Olivia verges on the sentimental, even on the infantilising: 'her little face'. I said the question called for deep-cut knowledge - and I mean not just of Brookner but of literature. Mere...