deserves

In Deborah Levy’s new novel “My Year in Paris With Gertrude Stein,” the celebrated British author turns her keen observational and critical eye toward Stein, a writer that Levy feels has been criminally redacted from the canon of modernist masters that emerged at the turn of the 20th century. “My Year in Paris With Gertrude Stein,” however, is anything but a dry-as-dust revisionist treatise.

Levy couches her thoughts on Stein’s life and work within the story of three women in contemporary Paris, including Levy’s fictive avatar as the narrator, grappling with her own notions of identity as she writes about Stein and her partner Alice B. Toklas. I spoke with Levy about Stein, Toklas and Picasso.

✍️ Author Chat

Have you always had an abiding interest in Gertrude Stein?

She has always been lurking there for a number of reasons. When I was studying modernist literature, I was pointed to all the usual suspects — T.S. Eliot, Ezra Pound, Beckett, Joyce. But no one ever pointed to Gertrude Stein. She was absent in Britain, anyway. I’m not sure it’s the same in America.

I feel like in America she certainly is not frequently cited among that pantheon of modernist writers that you just mentioned.

I thought her most commercial work, “The Autobiography of Alice B. Toklas,” was quite enchanting. But when you start to dig into her other writing, you find this mixture of very obtuse, very violent work, and some brilliant work.

You write in the book that you sometimes don’t understand Stein, but this doesn’t diminish your enjoyment of her work.

The thing about avant-garde writers is that they either crash or they triumph. For readers, it’s either someone popping a vein at the new and strange, or someone over-praising the work. And I thought, well I’m allowed to have mixed emotions about Stein’s writing. Sometimes she is totally brilliant, and sometimes less so.

Author Deborah Levy

(Sheila Burnett)

You also celebrate Stein and Toklas’ fierce individuality, which runs counter to the usual narratives about female authors during this time.

Well, female writers are supposed to suffer or commit suicide. And the glorious thing about Stein and Alice is that the art of living was very important to them. Travel, conversation, or driving around. This really appeals to me. You know, Stein would have a roast chicken leg in one hand and one hand on the steering wheel, with the dogs in the back.

I feel like Stein’s legacy as a writer has been occluded by her renown as a collector of the greatest modern art of the century, most notably Picasso before he became Picasso. She is remembered more for collecting others’ art than for her own art.

If you’re going to collect this bold, daring art of your own time, and you’re buying it cheap, because it’s being mocked, you have to know how to defend it. Stein wasn’t an art historian. She studied psychology with William James and then studied medicine at Johns Hopkins. Through her conversations with Picasso and others, she really began to acquire the apparatus to defend the work, and that fascinated me.

You write that Stein wanted to kill the 19th century with her work by dismantling and then reassembling language.

She was going to write through continuous present tense. She got rid of commas so she could hurtle through time and make her thoughts move forward. No question marks, because it was self-evident to her when someone was asking a question in her writing. She really was a pioneer.

Her prose reads like Beckett’s, decades before his novels were published.

The critic Roland Barthes wrote that all writing has some kind of behavior. A lot of avant-garde writing behaves like Stein, but she wasn’t imitating any other thing. She made something new for her century.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

Book jacket for “Marilyn and Her Books: The Literary Life of Marilyn Monroe” by Gail Crowther

(Los Angeles Times illustration; book jacket from Galley Books)

Marilyn Monroe was an avid reader who traveled with her treasured library of books wherever she lived. Yet, the stubborn image of Monroe as a literary dilettante remains. Now Gail Crowther has written “Marilyn and Her Books” which sets out to debunk that misconception of the screen legend. Crowther’s sharp account is both the story of Monroe’s library and “what we’ve projected upon Monroe when we’re asked to consider that she had one,” writes Mark Athitakis.

As Cuba struggles with a faltering economy and President Trump’s saber-rattling overtures, Ada Ferrer’s timely new memoir “Keeper of My Kin” “argues that the grand narratives of exile and revolution are, at their core, made up of private reckonings with irretrievable consequences,” writes Mariella Rudi.

When Eagle Rock’s Read Books was threatened with a massive rent hike from its landlord, co-owners Jeremy and Debbie Kaplan rallied the community around the fight for tenant’s rights and started an activist organization called Save North East Los Angeles Shops. “Commercial landlords [have] unbelievably unrealistic expectations of rent, and a small business can only sell a T-shirt or a hamburger or a service for what the market will bear,” neighborhood preservationist Aaron Peskin told Emily St. Martin.

Finally, Swan Huntley found a novel way to put off writing her next book: She hiked to every Erewhon store in Los Angeles.

📖 Bookstore Faves

A Good Used Book’s beautiful interior

(A Good Used Book)

Jenny Yang and Chris Capizzi started A Good Used Book in 2017 by selling secondhand titles at local flea markets and the Grand Central Market downtown. Seven years later, after a brief COVID blowback, the pair opened their own storefront in Historic Filipinotown. Now, A Good Used Book has blossomed into a vital community space featuring a vast selection of previously loved books across all genres. The store also hosts pop-up markets on the weekends, with more events scheduled in the coming year. I spoke with Capizzi about his store.

Who are your customers?

Our customer base is pretty broad. We’re selective about the books we carry, but we want anyone to be able to find themselves somewhere in the shop, whether you’re just getting back into reading or you’re the kind of person who already has strong opinions about translations. And we try not to take ourselves too seriously, so even though we may have critical theory, we also have “Choose Your Own Adventure.”

How do you pick inventory? Is there any emphasis on any particular genres that might be popular?

We definitely do the work to find books, but honestly a lot of the time the books seem to find us. In terms of what we carry, we focus mostly on classic, modern and contemporary fiction, but we love genre fiction too, like sci-fi, crime and horror. And a big part of what makes the store feel like us are our nonfiction and culture sections — humanities, sciences, film, music, fashion and design. Anything for that curious person who just wants to go a little deeper.

I know the store is about much more than books. Can you tell me about some of the other community events you guys organize?

During the week we’re all about the books. Every Sunday we host the Every Sunday Funday Market that features two food pop-ups out front, one savory and one sweet, and four or five local vendors and artists inside. We rotate vendors selling and making ceramics, jewelry, Japanese retro radios, soaps and candles, zines and prints, and even Persian perfumes. And we always have drinks going out of our vintage Coleman cooler, too. It’s a lot of things happening at once, but it adds up to a pretty easy, fun Sunday afternoon.

A Good Used Book is located at 307 Glendale Blvd., Los Angeles.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

Claudia Winkleman explains it was a very emotional moment when she left Strictly Come Dancing with Tess Daly last year

They will be watching the new series of Strictly Come Dancing together. But Claudia Winkleman says she and Tess Daly decided to bow out from the BBC show because they worried about becoming complacent in their roles.

No one ever doubted the pair loved BBC’s ballroom series. But speaking in-depth about their decision to leave, Claudia says she started to see signs that they needed to go ahead with their pact to quit at the same time.

“You want to leave on a high,” says Claudia. “And you want to leave when you are loving it. We were tiny cogs in this huge sparkly, glittery thing. We were tiny as we had props guys holding Eiffel Towers, the amazing band, the dancers, the costume and hair and make-up and everything else and the lighting.

“We thought it was time to leave. Years earlier they said Gloria Estefan was playing in Blackpool and we were like ‘I cant believe it’. I phoned my husband and said ‘I have to practice the Conga’.”

By then end of their run though, even big names and learning new dances were commonplace. She explains: “We thought it was time to leave. You know, not that I was not excited at the end, but both of us were a bit like ‘Oh yeah…cool. Alright, so then I do that…(routine)’.

“It deserves ‘new’ (change). But what shocked me was, we did the last live show. All week was like ‘We are fine’ but I could not stop crying as it has been my entire life. You know sometimes when you decide something like ‘Let’s move house’. Then you pick up the final box. Not that you have done something wrong but it just feels big.”

For Strictly’s launch in 2026, it will be all change in terms of hosts but also with some things still be the same. Claudia and Tess will be together, but snuggled up away from the cameras.

“Tess and I have already planned. We are having jacket potatoes and I am having the salmon. She is coming to ours, her and Vern(husband Vernon Kay). I am not joking. I am going to set her up with a nightie and we are going to watch and support and love it.”

For many years now, pretty much every TV show Claudia Winkleman has touched turned to gold.

Her Strictly Come Dancing stint on the main show for 15 years, hosting The Traitors and now huge spin off hit Celebrity Traitors too, as well as smaller shows like The Piano which won critical acclaim for Channel 4.

For her other major project The Traitors, Claudia says it requires very different skills compared to fronting Strictly, where she says a lot of the credit should go to Tess.

“Tess did all the heavy lifting on Strictly and I am grateful for it. But on Traitors I had to be strict. I was worried about that. I am in life a cheerleader like if my kids fill the dishwasher I am like ‘Lets film it’. So I am a cheerleader and I am able do that on Traitors when they do the missions. I want to feed them chocolate as I am on their side.

“But I have to get a bit strict like when my kids have not done their homework. I love the game so much so that is how I have to be. The producers did tell me to push it.”

Whilst she will continue to front the series, she admits it has made her more thoughtful about lying and deceit in real life.

“Traitors makes me cry. I am not that harsh. I want the traitors to win and the faithful to get them in equal measure. Also it is a lot of money if it is for charity or for them individually.

I have learned a lot of things that I wish I had not. It has made me realise there is no such thing as gut instinct. It is all about what you tell yourself afterwards. And I have learnt you can know the truth but you can persuade people to follow you and that makes me heartbroken. Will I do a children’s version? No.”

After referencing her kids, Claudia, at a charity Q&A event, is asked more about her own family.

She has been married to film producer Kris Thykier since 2000, and they have three children: Jake, Matilda, and Arthur. But there appears to be no risk of nepo babies in the Winkleman household.

With a grin Claudia says: “I told them to nepo up. One wants to work in hospitality, one wants to be a doctor and one wants to be a chemist. I said ‘I can navigate you work experience’ and they were like ‘No thanks mum.’ They are not interested in film (husband’s work) like they say ‘Not unless it comes in a test tube’. So no. That is not what they have asked for.”

Claudia was giving a rare interview to TV director Ben Winston at St John’s Wood Synagogue in London in aid of Lira Winston Fellowships, which focus on identifying and nurturing Jewish school educators

Asked about her thoughts on rising anti semitism, she said: “How do I navigate the industry? The industry itself does not feel anti-Semitic to me. That is my experience. But the growing anti-Semitism and the growing Islamophobia and racism that we see everywhere is really, really terrifying I suppose.

“I don’t want to say terrifying in front of my kids, but it is worrying. And that is why it is so important that we have got to look after each other and people from other communities.”

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