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A Plea for Eros, by Siri Hustvedt
Fee Download A Plea for Eros, by Siri Hustvedt
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- Sales Rank: #9885416 in Books
- Published on: 2006
- Format: Import
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x .63" w x 5.12" l, .38 pounds
- Binding: Paperback
- 240 pages
Most helpful customer reviews
11 of 12 people found the following review helpful.
A Varied Collection of Thoughts, Incantations, Musings from a Very Bright Mind
By Grady Harp
Siri Hustvedt is one fine writer. Her skills go beyond the technical expertise of honing in on a thought, relishing it, dissecting it, relating it, and offering it back to the reader. Here is a writer whose depth of knowledge about literature is vast and whose spectrum of sensibilities about living and the hurdles involved is uniquely her own.
A PLEA FOR EROS is a collection of twelve essays written over the course of time from 1995 to 2004 - a bit of information that is more important than the tidbit suggests... Hustvedt reminisces about her childhood in Minnesota, her brief juncture with being a movie extra in an adaptation of Henry James' 'Washington Square' that centers on the topic of corsets (!), the personal effect of 911 on her life and beliefs, her perceptions of the differences between the sexes, and the meaning of place. She also provides some very erudite and fascinating studies of Henry James' 'The Bostonians', Charles Dickens, F. Scott Fitzgerald and other luminaries of literature, finding her attention focused not solely on the literary merits of these writers, but also on topics that bounce off her springboard of creative thinking initiated by the subjects.
For this reader Hustvedt is at her best when she explores the waters of emotion and eroticism not only in literature but also in the way our society has come to interact. 'We live in an age of religious sects and mad militias, of gurus scattered about the country form California to New York, an age of channeling, colonics, crystals, and raw food crazes.' From this stance Hustvedt takes us places to prove that we are where we come from, that our exuberance for life comes at a price yet not one too dear to make. She is enlightened, entertaining, controversial, and a spinner of pages of elegant writing that makes time spent between these two covers very special. Finding the thread that unites these twelve fascinating essays is the joy she offers. Grady Harp, February 06
15 of 18 people found the following review helpful.
readable but a bit too self-conscious for my taste
By Cassandra
This is the second book I've read by Siri Hustvedt. The first was her novel 'What I loved', which I think shared some of the same strenghts and flaws with 'A plea for eros'.
The strenghts, as I see it, have to do with Hustvedt's elegant writing style, richness of thought, and breadth of knowledge. She very obviously is an intellectual, a woman who has been reading books and thinking about books (and art) all through her life; she also has a good understanding of human psychology, of the vicissitudes and peculiarities of sexual relationships, of the complex fabric of parenting and child-adult relations. Essays such as 'Yonder', where she explores her double (American / Norwegian) roots, or others where she explores her relationship to her mother and daughter, are nicely written, insightful, and provide food for thought.
In a way 'A plea for eros' could have been split in two parts, since the essays in it belong to two quite distinct categories- one part is Hustvedt's literature essays, the other is her essays about human relationships, sexuality, family, parenting etc. I think the latter are more appealing but also more problematic- as I said, I think they share the same strenghts and flaws with 'What I loved'.
The problem is an exhibitionism, a kind of self-consciousness which is as if Siri Hustvedt is providing us with a glimpse into her life, a life that I get the feeling we should be admiring (even though this is done in a most subtle way). A good example is her description of her first few days in New York, where she moved as a young woman from a small-town in Minnesota: 'My first few days' she says 'were spent rereading Crime and Punishment in a state that closely resembled fever'. Now is it just me or is this a pretentious phrase, which does not ring true at all? In a nutshell, there is a sense in this book, as in 'What I loved', of frequent name-dropping (mostly intellectual name dropping...which doesn't make it any less so!) and of sharing quite private moments, like her description of meeting and falling in love with her author-husband, Paul Auster. As I said, these characteristics could be considered strenghts, since Hustvedt's books end up being quite personal, direct and often very true. But they are also flaws, since her descriptions of herself and her life often become quite idealized and a bit pretentious.
7 of 8 people found the following review helpful.
"A call for Eros, a plea that we not forget ambiguity and mystery..."
By Luan Gaines
This is honestly one of the most fascinating works I have read this year, Hustvedt's essays a fluid mix of personal recollections, comments on literature and a view of the writing life. The author's love of language is evident, as is her engagement with the world, all imbued with a passion that fills each thoughtful memoir and cultural/literary criticism: "My private geography, like most people's, excludes huge portions of the world." She views history with a compassionate eye, mining the past for the symbols and literary gems, from Henry James to Charles Dickens to F. Scott Fitzgerald, hinting that the true Eros lies in the fertile imagination, in a capacity for difference, ambiguity, tolerance and curiosity.
The collection begins with "Yonder", an autobiographical essay of the "miraculous flexibility of language" and the nature of the places we collect as memory, infused with a personal magic. The immigrant experience of the author's background exists somewhere between here and there, somewhere yonder that is never reached, much like the journey that is savored, rather than the destination. The three places that loom in the author's life are Northfield, Minnesota, New York and the Norway of her grandparents. Even here, the author digresses into the subtle terrain of language, tying elements of the personal with the reading experience, "the world of reading is a kind of yonder world."
In "A Plea for Eros", the author makes a case that familiarity and the humdrum of everyday life are the enemies of Eros, that eroticism thrives on borders and distance, a theme supported in the following essays, "Gatsby's Glasses", "Eight Days in a Corset", "Being a Man" and "Leaving Your Mother" and more. This spectacular collection includes previously unpublished work, "Charles Dickens and the Morbid Fragment" and two others that have not been published in the United States, "9/11, or One Year Later" and "Extracts from a Story of the Wounded Self". Each page is filled with thoughtful observations, all linked to literature, language and the human experience.
Each essay contains revelations, those obscure connections between reality and the world of the imagination: Creating fiction is making a place for the reader in the text, "the words accelerate the book, they don't bog it down in pointless novelistic gab" and "writing fiction is remembering what never happened" (Yonder); American feminism has perforce ignored erotic truth, a willful blindness, revealing that "seduction is inevitably a theater of barriers" (A Plea for Eros); and "The true ground of all fiction is a call to empathy, the ultimate act of the imagination" (Gatsby's Glasses).
A Plea for Eros is not only a delightful exploration of ideas but a personally rewarding experience. Hustvedt's insights are revelatory and provocative, meditations on the written word, personal experience and intellectual curiosity that are nothing less than extraordinary. In prose so rich that it bears a kind of enchantment, Hustvedt combines her own narrative with the joy of fiction, nonfiction, wit and passion, an endless chain of associations with an undeniable affection for literature. Luan Gaines/ 2005.
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