In Rough Country (2010)
“Knowing the writer’s lifelong preoccupation with routines, schedules, and the devoting of every possible hour to his work, his companion replied that such love affairs would have taken up a good deal of Malamud’s time: “Which of your books would you have given up for these loves?” Malamud was silent for a moment and then said, “None.”
The Yeatsian conundrum—“perfection of the life, or of the work?”—carries with it an overtone of (unconscious?) megalomania: for who, counting even William Butler ...Yeats, is likely to achieve “perfection” in either life or work; rather more, the writer might hope to perform as brilliantly in both as he is capable, or simply to perform at all, with a modicum of success in both quarters. Yet, to the desperately ambitious Malamud, as he emerges in Philip Davis’s sympathetic yet persuasively “objective” portrait of the artist, such paradoxical questions were of the utmost importance, for to Malamud writing was not merely “writing”MoreLess
The Yeatsian conundrum—“perfection of the life, or of the work?”—carries with it an overtone of (unconscious?) megalomania: for who, counting even William Butler ...Yeats, is likely to achieve “perfection” in either life or work; rather more, the writer might hope to perform as brilliantly in both as he is capable, or simply to perform at all, with a modicum of success in both quarters. Yet, to the desperately ambitious Malamud, as he emerges in Philip Davis’s sympathetic yet persuasively “objective” portrait of the artist, such paradoxical questions were of the utmost importance, for to Malamud writing was not merely “writing”MoreLess
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