Nunokawa - Note book
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The hunger for a feeling of connection that informs most everything Ive written flows from a common break in a common heart, one I share with everyone Ive ever really known.--Note Book
Every single morning since early 2007, Princeton English professor Jeff Nunokawa has posted a brief essay in the Notes section of his Facebook page. Often just a few sentences but never more than a few paragraphs, these compelling literary and personal meditations have raised the Facebook post to an art form, gained thousands of loyal readers, and been featured in the New Yorker. In Note Book, Nunokawa has selected some 250 of the most powerful and memorable of these essays, many accompanied by the snapshots originally posted alongside them. The result is a new kind of literary work for the age of digital and social media, one that reimagines the essays efforts, at least since Montaigne, to understand our common condition by trying to understand ourselves.
Ranging widely, the essays often begin with a quotation from one of Nunokawas favorite writers--George Eliot, Henry James, Gerard Manley Hopkins, W. H. Auden, Robert Frost, or James Merrill, to name a few. At other times, Nunokawa is just as likely to be discussing Joni Mitchell or Spanish soccer striker Fernando Torres.
Confessional and moving, enlightening and entertaining, Note Book is ultimately a profound reflection on loss and loneliness--and on the compensations that might be found through writing, literature, and connecting to others through social media.
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note book
note book
JEFF NUNOKAWA
PRINCETON UNIVERSITY PRESS
PRINCETON AND OXFORD
Copyright 2015 by Princeton University Press
The following permissions have been granted: page 302,
Milton Avery, Green Sea, 1958, oil on canvas (18 24),
collection of the Art Museum at the University of Kentucky,
bequest of George and Susan Proskauer, 1992.17.4
2014 The Milton Avery Trust / Artists Rights Society (ARS),
New York; page 223, photograph by Dr. A David Gurewitsch,
reproduced by kind permission of Edna P. Gurewitsch;
pages 183, 235, and 307, painting by Dharma Cohen
Big Island Lava Flow / Full Moon Dharma Cohen.
Published by Princeton University Press,
41 William Street, Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press,
6 Oxford Street, Woodstock, Oxfordshire OX20 1TW
press.princeton.edu
All Rights Reserved
ISBN 978-0-691-16649-0
Library of Congress Control Number: 2014951313
British Library Cataloging-in-Publication Data is available
This book has been composed in New Century Schoolbook
Printed on acid-free paper.
Printed in China
1 3 5 7 9 10 8 6 4 2
CONTENTS
| (H. James) |
| (Kurosawa) |
| (OHara) |
| (Trollope) |
| (Coleridge) |
| (Crane) |
| (Bacon) |
| (Gena Rowlands) |
| (Forster) |
| (Montaigne) |
| (Walton) |
| (Nabokov) |
| (OHara) |
| (The Authors Mother) |
| (De Quincey) |
| (Moore) |
| (Blake) |
| (Tina Fey) |
| (Grahame) |
| (Capote) |
| (Dickens) |
| (Hollander) |
| (Chaucer) |
| (Nunokawa) |
| (Mailer) |
| (Postal Service) |
| (Sartre) |
| (Lewalski & Sabel) |
| (Alain Badiou) |
| (The Authors Mother: A Play in Eleven Lines) |
| (Woolf) |
| (De Quincey) |
| (Sartre) |
| (Wilde) |
| (Robert B. Pippin) |
| (Auden) |
| (G. Eliot) |
| (G. Eliot) |
| (Harry Berger Jr.) |
| (La Rochefoucauld) |
| (Anne Morrow Lindbergh) |
| (Melville) |
| (Kafka) |
| (Updike) |
| (Hegel) |
| (E. B. White) |
| (H. James) |
| (Trilling) |
| (Dickens) |
| (S. Johnson) |
| (Stevens) |
| (W. James) |
| (G. Eliot) |
| (Maurice Natanson) |
| (Pauline Kael) |
| (Sartre) |
| (Salinger) |
| (Robert Caro) |
| (Mary McCarthy) |
| (The Authors Mother) |
| (Alfred Kazin) |
| (Erwin Straus) |
| (Updike) |
| (Austen) |
| (Ashbery) |
| (Northrop Frye) |
| (G. Eliot) |
| (Thackeray) |
| (Frost) |
| (Arthur M. Schlesinger Jr.) |
| (Georg Simmel) |
| (G. Eliot) |
| (Uncle Arthur, as reported by Brendan Gill) |
| (Michel de Certeau) |
| (Angus Fletcher) |
| (Strunk and White) |
| (Sartre) |
| (Camus) |
| (Marlowe) |
| (Woolf) |
| (Nabokov) |
| (Stevens) |
| (Bacon) |
| (Housman) |
| (Tolkien) |
| (qtd. by Erving Goffman) |
| (Pierre Hadot) |
| (H. James) |
| (Clement Clarke Moore) |
| (Wharton) |
| (Auden) |
| (Shakespeare) |
| (Talking Heads) |
| (OHara) |
| (De Quincey) |
| (T. S. Eliot) |
| (Chandler) |
| (Merrill) |
| (Updike) |
| (Merrill) |
| (Austen) |
| (Fitzgerald) |
| (Boswell) |
| (Pater) |
| (Darwin) |
| (Frost) |
| (Austen) |
| (Hardy) |
| (G. Eliot) |
| (Wilde) |
| (G.L.S.) |
| (OHara) |
| (Spenser) |
| (Emerson) |
| (Peter Singer) |
| (T. S. Eliot) |
| (Tobias Wolff) |
| (Bolao) |
| (G. Eliot) |
| (Merrill) |
| (Emerson) |
| (Samuel Johnson) |
| (F. Creuzer) |
| (Empson) |
| (Auden) |
| (Hume) |
| (Class Notes) |
| (Milton) |
| (Richard Brautigan) |
| (Barthes) |
| (Emerson) |
| (Richard Poirier) |
| (Aeschylus) |
| (Updike) |
| (Camus) |
| (Austen) |
| (Heaney) |
| (Anne Morrow Lindbergh) |
| (Frost) |
| (Vidal) |
| (Jack Goody) |
| (Song of Solomon) |
| (Auerbach) |
| (Wordsworth) |
| (Merrill) |
| (Salinger) |
| (Fitzgerald) |
| (Stevens) |
| (Merrill) |
| (G. Eliot) |
| (Lillian Hellman) |
| (Sontag) |
| (Dickens) |
| (Barthes) |
| (Merrill) |
| (Spenser) |
| (Ellmann) |
| (Kafka) |
| (Camus) |
| (Hopkins) |
| (Pope) |
| (Milton) |
| (Ruskin) |
| (Queneau) |
| (Joyce) |
| (Merrill) |
| (G. Eliot) |
| (Bishop) |
| (Trilling) |
| (Bishop) |
| (Wittgenstein) |
| (Whitman, H. Crane, C. Robinson) |
| (Bishop) |
| (Browning) |
| (Herbert) |
NOTE BOOK
Initial Public Offering
A friend suggests that I should start by telling you something about this book, and I guess hes right.
So what is this book? This book is a small selection from a big stock of brief essays that I have written every day (one a day) over the course of what has come to be many years now. (Funny how remembering a standing date can make you forget the passing of the years during which you keep it.) I write and disseminate these essays on Facebook, using its little noticed Notes option. I also revise them there. And revise them. And revise them. And revise them. (One of the many charms of the notes function on Facebook is how it allows you to revise what youve already virtually published to your hearts content. I am put in mind of a remark a friend made about an advertisement for a Sunday brunch, which included all the Chablis you care to enjoy: and then some, my friend waggishly added. My point being that the notes option on Facebook allows you to perform all the revisions you care to enjoyand then some. (Many is the day I have mostly spent making small and large changes in the brief meditation pertaining thereto.)
I return now to the task at hand. What are these brief essays? Well probably, the easiest way to find out is to stop reading this introduction right now and go straight to the essays themselves. (After all, there is always something at least a little asinine and asymmetrical about even the most necessary introductions. At least so it has always seemed to me.)
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