Date of publication: 2017-08-29 17:40
Both memoirs frequently elicit this response … even though both books are very different. What does Karen know about me? Marie? Karen knows what it was like for me to grow up in an family. Marie knows what it was like for me to recover from a sexual addiction. To Karen, the real me is one thing to Marie, the real me is something, someone different. Even so, does this mean that all I am—as a writer and as a woman—is an survivor/sex addict? Is that it?
As the struggle for Kurdish independence plays out in the shadow of wider regional crises, Alex Christie-Miller reports on the history of a conflict that has come to symbolise the twenty-first century crises of statehood, democracy and cultural diversity.
Jami Attenberg deftly travels inside the head of a 89-year-old woman who has no interest in doing what she’s supposed to do and follows her heart instead of her mind—a story that’s sexy, charming, and impossible to put down.
Farber defends the unpolished, B-grade, underground films and directors that make what he deems 8775 termite art 8776 great. The author is sick of the overwrought attempts at creating and sustaining masterpieces, instead calling for art to devour its own boundaries. Let 8767 s shake it up already!
This was my introduction to one of the central tenets of Bob&rsquo s editorial philosophy. Good writing is capable of bringing to life even the most arcane subjects. Big ideas demand vivid prose. Academic jargon is fatal, as are stock expressions, terms of art, empty metaphors. Dead language not only obscures the ideas it means to describe. It blocks original thinking. Many writers will say that Bob brought out their best prose. He did more than that. He brought out their highest thoughts.
Countless little magazines and literary reviews have been conceived as a refuge from the crowd, a perch for Icarus. The New York Review was meant to be different. Frustrated by the lazy gentility of American book reviewing and its detachment from wider intellectual and cultural currents, the editors invented a genre for what they hoped would be a new audience. The digressive review-essay style that became the paper&rsquo s trademark presumed that a writer could bring intellect to matters of soul without violating either, and that there was an audience for such writing. From the start, the Review was a democratic, pedagogical project.
Where you've heard his name before: He’s the author of the novels The Typist and Diving Rod and the collections Goodnight, Nobody Dogfight, and The Holiday Season.
May 8767 s online issue features a piece by Edwina Attlee on Sharon Hayes’ video installation, In My Little Corner of the World, Anyone Would Love You , currently exhibited at Studio Voltaire , which engages with contemporary feminist and queer politics. Elsewhere in this issue, White Review contributor Jonathan Gibbs discusses the dynamics of representation in the film Wanda alongside Nathalie Léger’s account of the film in her book, Suite For Barbara Loden .
While both sections offer new insight into a formative time in the author's life, the California portion is much more introspective, closer to the type of essay found in one of her famous collections. There's something so deeply personal about "California Notes" – even if it is more of a collection of memories with no real direction. It shows just how close Didion felt to the the life, crimes and times of Patricia Hearst, while helping to explain why she didn't sit in that courtroom and write about the trial. That it, for her, was about something else. Hearst represented something more to Didion that she needed more time to figure out.
Our May 7567 online issue leads with a superb and previously untranslated early short story, ‘Reflux’, by Nobel Prize for Literature laureate José Saramago. Also online this month are a career-retrospective interview with the delightfully jaded Jonathan Safran Foer on the art of writing and how not to conceptualise it an essay on Russian Ark , art, and the aura according to Walter Benjamin by critic Scott Esposito a short documentary film on PalFest by Murat Gökmen, introduced by Omar Robert Hamilton and poems by Sam Riviere and Sarah Howe. We also have new fiction from Seraphina Madsen.