Edward W. Said - On Late Style: Music and Literature Against the Grain

Edward was in the process of writing this book when he passed away on Thursday morning, September , 2003 .

In late August we were in Europe: first in Seville, where Edward participated in the West Eastern Divan workshop, and then in Portugal visiting friends, when he fell ill. We returned to New York a few days later, and after three weeks of high fever he began to pull through. He felt well enough to resume work Friday morning, three days before his illness took over for the last time. He said to me as we were having breakfast that morning, Today I will write the acknowledgments and preface to Humanism and Democratic Criticism (the last book he finished, which was about to come out). The introduction to From Oslo to Iraq and the Road Map Ill finish by Sunday. And next week Ill concentrate on completing Late Style, which will be finished in December. All this was not meant to be. However, Edward left us a tremendous amount of material on this book to allow us to finish it and produce posthumously a version of what he had in mind.

My recollection is that this ideawriters, musicians, and other artists late works, late style, Adorno and lateness, etc.became part of Edwards conversation sometime at the end of the 1980 s. He had begun to be interested in this phe- nomenon and was engrossed in reading about it. He discussed it with many friends and colleagues and began to include examples of late works in many of his articles on music and literature. He even wrote specific essays on the late works of some writers and composers. He also gave a series of lectures on late style, first at Columbia and then elsewhere, and in the early 1990 s he taught a class on the topic. Finally he decided to write a book and had a contract in hand.

This book would not have been possible without the help of several devoted people and friends. My family and I are more than indebted to them for their contribution toward this endeavor.

Our thanks first and foremost go to Sandra Fahy, Edwards assistant, whose help and dedication were crucial in assembling the material that went into this book. We are also grateful to Andrew Rubin, Edwards student and former assistant, who kept detailed notes, was very resourceful, and directed us to various valuable sources of information. And to Stathis Gourgouriswho had long discussions on late style with Edwardfor his valuable time and willingness to share his ideas. To Shelley Wanger, Edwards editor, whose patience and perseverance we will always cherish, to Sarah Chalfant and Jin Auh at the Wylie Agency, and to Akeel Bilgrami, Edwards friend and colleague, who taught several seminars with him and who read the manuscriptto all of them go our heartfelt thanks. I also would like to thank the many friends and former students contacted who were very helpful with their time and information. Last but not least, this book would not have seen the light of day without two dear friends to whom my family and I are most grateful and will always be indebted for their love, generosity, and expertise. The person whose wisdom, advice, and meticulous reading of the material gave us the green light to proceed with this publication was Americas finest literary critic, as Edward always described his friend Richard Poirier. Richard oversaw this manuscript from beginning to end. The other person who labored on and edited this manuscript with a fine-tooth comb and devotion is our close friend Michael Wood. He has done a superb job of not only editing the essays and arranging the material, but also putting it all together without losing Edwards voice.

Mariam C. Said

New York, April 2005