September 27th, 2014

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Text beneath poem by Jean Seberg displayed in exhibit of Love Letters at the Museum of Letters and Manuscripts in Paris

L’atrice américaine Jean Seberg incarne un ideal féminin pour toute une generation mais cache sous sa beauté une âme inquiète. Ses felures intimes, sa sensibilité— mais aussi sa lucidité— se révèlent dans ce très rare poème d’amour qui evoque l’homme qui dort a ses cotes… Poeme du renoncement, ce texte affirme paradoxalement Jean Seberg comme un écrivain a la sensibilité a vif, pour qui l’écriture n’a rien d’un passe-temps, mais engage tout l’etre.

 

 

Landing page

September 25th, 2014

I know this all may be a little confusing. Being a human is messy, so proceed with caution. This site started years ago out of a dangerous bet of sorts and it remains destructive and instructive, least of all for you, reader. One of these days I might disappear from here. For now, the real work is taking place where you can’t see me, behind my desk. I share these images and words because it can be fun and I’m not so brave as to vanish all together from the conversation. Still, proceed with a sense of humor. I have one about myself. Do you like my shoes today? Take solace from the film Eden et Apres

What are you looking for?

Nothing.

 

And I found it.

September 24th, 2014

photo 2

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A Balthus girl forever

August 18th, 2014

Click here for story in September Elle

On Cheever & Updike

click here to read the story in The American Reader

Click here for Telegraph piece

 

Click here for my interview with Kate Zambreno for The Believer

 

“The high-stakes emotional and ideological growth of Margot in Chereau’s film is mostly the director’s fantasy. What is compelling and true in it is that Margot confronts her powerlessness through passion that ignites her secular spiritual development. It is no longer about two religions, alike in dignity, but loosely about unequal foundations. Betraying first her aristocratic mother (in saving the Protestants) and then her royal husband (in romancing a soldier), Margot twice “leaves the side of the oppressors to side with the oppressed,” as Chereau put in his notes for the film. For a queen, this is unusual, but what happens in turn is not.”

click here to read full story from The New Inquiry

June 1st, 2014

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Stephanie LaCava is a writer working in New York City and Paris. Here is her phantom cabinet of curiosities.
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