Janet Malcolm – författare

Is it ever possible to know 'the truth' about Sylvia Plath and her marriage to Ted Hughes, which ended with her suicide?In The Silent Woman, renowned writer Janet Malcolm examines the biographies of Sylvia Plath, with particular focus on Anne Stevenson's Bitter Fame, to discover how Plath became an enigma in literary history. The Silent Woman is a brilliant, elegantly reasoned inquiry into the nature of biography, dispelling our innocence as readers, as well as shedding a light onto why Plath's legend continues to exert such a hold on our imaginations.

For decades, Janet Malcolm's books and dispatches for the New Yorker have poked and prodded at biographical convention, gesturing towards the artifice that underpins both public and private selves. Here, Malcolm turns her gimlet eye on her own life, examining twelve family photographs to construct a memoir from camera-caught moments, each of which pose questions of their own. She begins with the picture of a morose young girl on a train, leaving Prague at the age of five in 1939. From there we follow her to the Czech enclave of Yorkville in Manhattan, where her father, a psychiatrist and neurologist, and her mother, an attorney from a bourgeois family, traded their bohemian, Dada-inflected lives for the ambitions of middle-class America. From her early, fitful loves to evenings at the old Metropolitan Opera House to her fascination with what it might mean to be a "bad girl," Malcolm assembles a composite portrait of a New York childhood, one that never escaped the tug of Europe and the mysteries of fate and family. Later, Malcolm delves into her marriage to Gardner Botsford, the world of William Shawn's New Yorker, and the libel trial that led her to become a character in her own drama.Displaying the sharp wit and astute commentary that are Malcolmian trademarks, this brief volume develops into a memoir like no other.

Winner of the PEN/Jacqueline Bograd Weld Award for Biography: the story of the mystifying relationship between the brilliant and affable Gertrude Stein and her brooding companion, Alice B. Toklas"Janet Malcolm deftly captures Alice B. Toklas's legendary 40-year partnership with the brilliant modernist Gertrude Stein in Two Lives, clearing up a few mysteries along the way—including how two Jewish women were able to survive World War II in their provincial French château with the help of a Vichy collaborator."—Vogue"Shrewd, humane, and beautifully written."— John Gross, Wall Street Journal"How had the pair of elderly Jewish lesbians survived the Nazis?” Janet Malcolm asks at the beginning of this extraordinary work of literary biography and investigative journalism. The pair, of course, is Gertrude Stein, the modernist master “whose charm was as conspicuous as her fatness” and “thin, plain, tense, sour” Alice B. Toklas, the “worker bee” who ministered to Stein’s needs throughout their forty-year expatriate “marriage.” As Malcolm pursues the truth of the couple’s charmed life in a village in Vichy France, her subject becomes the larger question of biographical truth. “The instability of human knowledge is one of our few certainties,” she writes. The portrait of the legendary couple that emerges from this work is unexpectedly charged. The two world wars Stein and Toklas  lived through together are paralleled by the private war that went on between them. This war, as Malcolm learned, sometimes flared into bitter combat.Two Lives is also a work of literary criticism. “Even the most hermetic of [Stein’s] writings are works of submerged autobiography,” Malcolm writes. “The key of  'I' will not unlock the door to their meaning—you need a crowbar for that—but will sometimes admit you to a kind of anteroom of suggestion.” Whether unpacking the accessible Autobiography of Alice B. Toklas, in which Stein “solves the koan of autobiography,” or wrestling with The Making of Americans, a masterwork of “magisterial disorder,” Malcolm is stunningly perceptive.Praise for the author:“[Janet Malcolm] is among the most intellectually provocative of authors . . .able to turn epiphanies of perception into explosions of insight.”—David Lehman, Boston Globe“Not since Virginia Woolf has anyone thought so trenchantly about the strange art of biography.”—Christopher Benfey

Prizewinning journalist Janet Malcolm discovers the elements of Greek tragedy in a sensational New York City murder trial"Astringent and absorbing. . . . Iphigenia in Forest Hills casts, from its first pages, a genuine spell — the kind of spell to which Ms. Malcolm’s admirers (and I am one) have become addicted."—Dwight Garner, New York Times"This is shrewd and quirky crime reporting at its irresistible and disabused best."—Louis Begley, Wall Street Journal"She couldn't have done it and she must have done it." This is the enigma at the heart of Janet Malcolm's riveting book about a murder trial in the insular Bukharan-Jewish community of Forest Hills, Queens, that captured national attention. The defendant, Mazoltuv Borukhova, a beautiful young physician, is accused of hiring an assassin to kill her estranged husband, Daniel Malakov, a respected orthodontist, in the presence of their four-year old child. The prosecutor calls it an act of vengeance: just weeks before Malakov was killed in cold blood, he was given custody of Michelle for inexplicable reasons. It is the "Dickensian ordeal" of Borukhova's innocent child that drives Malcolm's inquiry.With the intellectual and emotional precision for which she is known, Malcolm looks at the trial—"a contest between competing narratives"—from every conceivable angle. It is the chasm between our ideals of justice and the human factors that influence every trial—from divergent lawyering abilities to the nature of jury selection, the malleability of evidence, and the disposition of the judge—that is perhaps most striking.Surely one of the most keenly observed trial books ever written, Iphigenia in Forest Hills is ultimately about character and "reasonable doubt." As Jeffrey Rosen writes, it is "as suspenseful and exciting as a detective story, with all the moral and intellectual interest of a great novel.""Iphigenia in Forest Hills is another dazzling triumph from Janet Malcolm. Here, as always, Malcolm’s work inspires the best kind of disquiet in a reader—the obligation to think." —Jeffrey Toobin, author of The Nine: Inside the Secret World of the Supreme Court"A remarkable achievement that ranks with Malcolm's greatest books. Her scrupulous reporting and interviews with protagonists on both sides of the trial make her own narrative as suspenseful and exciting as a detective story, with all the moral and intellectual interest of a great novel." —Jeffrey Rosen, author of The Supreme Court: The Personalities and Rivalries that Defined America

To illuminate the mysterious greatness of Anton Chekhov’s writings, Janet Malcolm takes on three roles: literary critic, biographer, and journalist. Her close readings of the stories and plays are interwoven with episodes from Chekhov’s life and framed by an account of Malcolm’s journey to St. Petersburg, Moscow, and Yalta. She writes of Chekhov’s childhood, his relationships, his travels, his early success, and his self-imposed “exile”—always with an eye to connecting them to themes and characters in his work. Lovers of Chekhov as well as those new to his work will be transfixed by Reading Chekhov.From the Trade Paperback edition.

From the author of In the Freud Archives and The Journalist and the Murderer comes an intensive look at the practice of psychoanalysis through interviews with “Aaron Green,” a Freudian analyst in New York City.  Malcolm is accessible and lucid in describing the history of psychoanalysis and its development in the United States. It provides rare insight into the contradictory world of psychoanalytic training and treatment and a foundation for our understanding of psychiatry and mental health. "Janet Malcom has managed somehow to peer into the reticent, reclusive world of psychoanalysis and to report to us, with remarkable fidelity, what she has seen. When I began reading I thought condescendingly, ''She will get the facts right, and everything else wrong.'' She does get the facts right, but far more pressive, she has been able to capture and convey the claustral atmosphere of the profession. Her book is journalism become art."  —Joseph Andelson, The New York Times Book Review

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit as her larger-than-life example -- the lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision, a book about the crime -- she delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. In Malcolm''s view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung.Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader''s consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

In an astonishing feat of literary detection, one of the most provocative critics of our time and the author of In the Freud Archives and The Purloined Clinic offers an elegantly reasoned meditation on the art of biography. In The Silent Woman, Janet Malcolm examines the biographies of Sylvia Plath to create a book not about Plath’s life but about her afterlife: how her estranged husband, the poet Ted Hughes, as executor of her estate, tried to serve two masters—Plath’s art and his own need for privacy; and how it fell to his sister, Olwyn Hughes, as literary agent for the estate, to protect him by limiting access to Plath’s work.Even as Malcolm brings her skepticism to bear on the claims of biography to present the truth about a life, a portrait of Sylvia Plath emerges that gives us a sense of “knowing” this tragic poet in a way we have never known her before. And she dispels forever the innocence with which most of us have approached the reading of any biography.From the Trade Paperback edition.

Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her biographies of Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction - as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which become a dazzling portrait of an artist. "She is among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Forty-one False Starts brings together for the first time essays published over the course of several decades (many from The New Yorker and The New York Review of Books) that reflect Malcolm's preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores the "dominating passion" of Bloomsbury to create things visual and literary, the "passionate collaborations" behind Edward Weston's nudes, and the psyche of the German photographer Thomas Struth.She delves beneath the "onyx surface" of Edith Wharton's fiction, appreciates the black comedy of the Gossip Girl novels, and confronts the false starts of her own autobiography. As Ian Frazier writes in the introduction, "Over and over Malcolm has demonstrated that an article in a magazine-something we see every day-can rise to the highest level of literature."

Through an intensive study of 'Aaron Green,' a Freudian analyst in New York City, New Yorker writer Janet Malcolm reveals the inner workings of psychoanalysis.

The process known as psychoanalysis is sometimes revered, sometimes derided, and most often misunderstood. What good does it do? Can it help anyone? What risks does it pose to both patient and analyst? None of these questions can be easily answered, but in Janet Malcolm's narrative, in which all her skills as a reporter and interviewer come into play, their complexity is limpidly revealed.

'Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible'In equal measure famous and infamous, Janet Malcolm's book charts the true story of a lawsuit between Jeffrey MacDonald, a convicted murderer, and Joe McGinniss, the author of a book about the crime. Lauded as one of the Modern Libraries "100 Best Works of Nonfiction", The Journalist and the Murderer is fascinating and controversial, a contemporary classic of reportage.

Who will inherit the secrets of Sigmund Freud? Who will protect his reputation? Who may destroy it? Janet Malcolm's investigation into the personalities who clash over Freud's legacy has become a celebrated story of seduction and betrayal, love and hatred, fantasy and reality. It is both a comedy and a tragedy. Malcolm's cast of characters includes K. R. Eissler, a venerable psychoanalyst and keeper of the Freud flame; Jeffrey Mason, a flamboyant Sanskrit scholar and virulent anti-Freudian; and Peter Swales, a former assistant to the Rolling Stones and indefatigable researcher. Each of them thinks they know the truth about Freud, and each needs the help of the other. Malcolm endeavours to untangle the causes of their rivalry and soured friendships, while the flaws and mysteries of Freud's early work tower in the background.

In Reading Chekhov Janet Malcolm takes on three roles: literary critic, biographer and journalist. Her close readings of Chekhov's stories and plays are interwoven with episodes from his life and framed by an account of a recent journey she made to St Petersburg. Malcolm demonstrates how the shadow of death that hovered over most of Chekhov's literary career - he became consumptive in his twenties and died in his forties - is almost everywhere reflected in the work. She writes of his childhood, his relationship with his family, his marriage, his travels, his early success, his exile to Yalta - always with an eye to connecting them to his themes and characters.

Selected essays from America's foremost literary journalist and essayist, featuring ruminations on writers and artists as diverse as Edith Wharton, Diane Arbus and the Bloomsbury Group. This charismatic and penetrating collection includes Malcolm's now iconic essay about the painter David Salle.