Regular readers of this blog will know that MPS is a great fan of the late Tony Judt.
From The New York Review of Books:
"The title of The Memory Chalet refers to its method of composition. Locked inside a body made inert by amyotrophic lateral sclerosis, and faced with his shrinking future and approaching death, Tony Judt decided to revisit his past. Physically unable to write, but with a mind as sharp and active as ever, he plotted the twenty-five short essays that compose this book in his head, while he was alone at night, using a mnemonic device taken from accounts of the early modern “memory palace,” whereby elements of a narrative are associated with points in a visually remembered space; but instead of a palace, he used a small Swiss chalet that he had once stayed in on vacation as a boy, and that he could picture vividly and in detail. He was then able to dictate these feuilletons the next day from the resulting structure. All but four of them were originally published as separate pieces in The New York Review, but their impact is much enhanced as a single book, a book that is at once memoir, self-portrait, and credo."
Continue reading here.
From The New York Review of Books:
"The title of The Memory Chalet refers to its method of composition. Locked inside a body made inert by amyotrophic lateral sclerosis, and faced with his shrinking future and approaching death, Tony Judt decided to revisit his past. Physically unable to write, but with a mind as sharp and active as ever, he plotted the twenty-five short essays that compose this book in his head, while he was alone at night, using a mnemonic device taken from accounts of the early modern “memory palace,” whereby elements of a narrative are associated with points in a visually remembered space; but instead of a palace, he used a small Swiss chalet that he had once stayed in on vacation as a boy, and that he could picture vividly and in detail. He was then able to dictate these feuilletons the next day from the resulting structure. All but four of them were originally published as separate pieces in The New York Review, but their impact is much enhanced as a single book, a book that is at once memoir, self-portrait, and credo."
Continue reading here.
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