How can and how does the poet contribute to the political, historical, and economic tradition of their society?
If de Vigan’s novel indulges the writer’s fear that the writing may dry up, King’s indulges a different but related fear: that you will be forced to write, forever, what you long to outgrow.
It doesn’t take much formal study to read a novel in another language, if you don’t mind being unable to understand the occasional sentence or paragraph. It depends more on guessing and sympathy with a particular language or culture than it does on a knowledge of grammar or vocabulary.
Hamilton’s reconstruction of Athenian tragedy, Americanized to focus on individual “poetically transmuted pain,” appealed to Robert F. Kennedy.
Last year, Julie Maroh published another graphic novel, Body Music, a series of short vignettes about people and their love stories. It takes place in Montreal, starting July 1st – the day when people usually move out or in – and spans one year, coming back full circle.
When I began to make a concerted effort to study Irish in college, I could not help but feel at times that the process was less one of starting from zero than of anamnesis, the slow recollection of a dormant inborn knowledge.
What does it mean to be culturally legible? And what does cultural legibility mean with regard to writing about or from within one’s own culture?
In David Grossman’s award-winning novel A Horse Walks into a Bar, the narrator, a retired judge, describes one night in the life of the protagonist, Dovaleh, a stand-up comedian in his late fifties and his lost childhood friend.
In the summer of 1991, I was twenty-two and voraciously read works I was too young to fully absorb. I couldn’t possibly have understood what true regret of a lost love was after a life had already been half-lived.
Behaving authentically in the world is never easy or straightforward; critics like William Gass show us, among many other things, that we are not alone in these questions of authenticity, and that we never really have been.