Joan Acocella – författare

A uniquely personal record of a great artist’s experience of mental illnessIn his prime, Vaslav Nijinsky (1889-1950) was the most celebrated man in Western ballet--a virtuoso and a dramatic dancer such as European and American audiences had never seen before. After his triumphs in such works as The Specter of the Rose and Petrouchka, he set out to make ballets of his own, and with his Afternoon of a Faun and The Rite of Spring, created within a year of each other, he became ballet’s first modernist choreographer.  For six weeks in early 1919, as his tie to reality was giving way, Nijinsky kept a diary--the only sustained daily record we have, by a major artist, of the experience of entering psychosis. In some entries he is filled with hope. He is God; he will save the world. In other entries, he falls into a black despair. He is dogged by sexual obsessions and grief over World War I. Furthermore, he is afraid that he is going insane. The diary was first published in 1936, in a version heavily bowdlerized by Nijinsky’s wife. The new edition, translated by Kyril FitzLyon, is the first complete and accurate English rendering of this searing document. In her introduction, noted dance critic Joan Acocella tells Nijinsky’s story and places it in the context of early European modernism.

Here is a dazzling collection from Joan Acocella, one of our most admired cultural critics: thirty-one essays that consider the life and work of some of the most influential artists of our time (and two saints: Joan of Arc and Mary Magdalene). Acocella writes about Primo Levi, Holocaust survivor and chemist, who wrote the classic memoir, Survival in Auschwitz; M.F.K. Fisher who, numb with grief over her husband’s suicide, dictated the witty and classic How to Cook a Wolf; and many other subjects, including Dorothy Parker, Mikhail Baryshnikov, and Saul Bellow. Twenty-Eight Artists and Two Saints is indispensable reading on the making of art—and the courage, perseverance, and, sometimes, dumb luck that it requires.From the Trade Paperback edition.

Joan Acocella, “one of our finest cultural critics” (Edward Hirsch), has the rare ability to examine literature and unearth the lives contained within it - its authors, its subjects, and the communities from which it sprung. In her hands, arts criticism becomes a celebration and an investigation, and her essays pulse with unadulterated enthusiasm. As Kathryn Harrison wrote in The New York Times, “Hers is a vision that allows art its mystery but not its pretensions, to which she is acutely sensitive. What better instincts could a critic have?”Book Reports gathers twenty-four essays from the past decade and a half of Acocella’s career, as well as an introduction that frames her simple preoccupations, “Life and Art.” In agile, inspired prose, the New Yorker staff writer moves from J. R. R. Tolkien’s translation of Beowulf to the life of Richard Pryor, from surveying profanity to untangling the book of Job. Her appetite (and reading list) knows no bounds. This collection is a joy and a revelation, a library in itself, and Acocella our dream companion among its shelves.

From 1985 to 1995 an estimated 40,000 Americans, most of themwomen, were told they suffered from multiple personality disorder.Feminists, fundamentalists, and a substantial portion of the mentalhealth community Andorsed this "Sybil-ing" of America.Sensation-seeking television talk shows took up the MPD rallyingcry. In Creating Hysteria, Joan Acocella tells a riveting tale oftherapists betraying their patients, of a psychotherapy professionat war within its own ranks, and finally of expatients rising upand putting an And to the MPD scandal. "Creating Hysteria exposes one of the most frightening mentalrollercoaster rides taken by thousands of people in modern times.Joan Acocella brilliantly illuminates how the mental healthprofession spearheaded, perhaps inadvertently, a fin-de-sieclehysteria, the fallout from which will take us into the nextmillennium. Anyone who has ever been interested in mental healthshould read this book."--Elizabeth Loftus, president, AmericanPsychological Society

Expanding on her absorbing and controversial 1995 New Yorker article, Joan Acocella examines the politics of Willa Cather criticism: how Cather’s work has been seized upon and often distorted by critics on both the left and the right. Acocella argues that the central element of Cather’s works was not a political agenda but rather a tragic vision of life. This beautifully written book makes a significant contribution to Cather studies and, at the same time, points out the follies of political criticism in the study of all literature.