February 12th6:30pm
Writing is an “apprenticeship to what can never fully be mastered”, says the Pulitzer-winning poet Carl Phillips. Join us as we delve into the mysteries of the art of storytelling. In this workshop-adjacent book club, we will discuss everything from plot beats to perspective choices to sentence-level sonics of major literary works and small press gems, in an attempt to understand how specific authorial choices shape the experience and impact of a story. You do not have to be a writer to join us — just someone with a deep love for literature and endless curiosity about how a story gets told.
This month we'll discuss Natalia Ginzburg's frighteningly lucid feminist horror story about marriage, The Dry Heart, translated by Frances Frenaye.
Her observations are swift and exact, usually irradiated by an unruly and often satirical humor. The instrument with which she writes is fine, wonderfully flexible and keen, and the quality of her attention is singular. The voice is pure and unmannered, both entrancing and alarming, elegantly streamlined by the authority of a powerful intelligence.
— Deborah Eisenberg - The New York Review of Books
I’m utterly entranced by Ginzburg’s style—her mysterious directness, her salutary ability to lay things bare that never feels contrived or cold, only necessary,
honest, clear.— Maggie Nelson
The Dry Heart begins and ends with the matter-of-fact pronouncement: “I shot him between the eyes.” As the tale—a plunge into the chilly waters of loneliness, desperation, and bitterness—proceeds, the narrator's murder of her flighty husband takes on a certain logical inevitability. Stripped of any preciousness or sentimentality, Natalia Ginzburg's writing here is white-hot, tempered by rage. She transforms the unhappy tale of an ordinary dull marriage into a rich psychological thriller that seems to beg the question: why don't more wives kill their husbands?
Reserve your place with a $5 voucher, redeemable on the night of the book club meeting on any product in store.