It’s too easy to write Kenny Dennis off as just a joke. While there are aspects of Kenny that seem wholly ridiculous, Cohn makes his story expansive and dark, and he settles on an exuberance that overcomes Kenny’s struggle.
I like the fact that you can see error moments that have been used to do something and, also, that there are other latent, inelegant bits that could be resolved differently. I like having both—utilised errors and potentially resolvable parts that nonetheless remain uncoopted.
We were holding our seder in a Jerusalem that was very much part of chol, though also part of the holy—we were at the table, in my apartment, in the city of Jerusalem, it felt different than when we do the same thing in Cleveland. Yet, we still long each year, for the transcendent Jerusalem.
Garza’s boldest choice in the novel was to make her narrator the patriarchy. That is, his behavior is marked by secrecy, without intuition, his actions with women defined by received knowledge.
Godwin’s conviction of the possibility of immortality, which only a few years ago might have seemed quixotic and a bit embarrassing, has come back into fashion.
Maybe there is another model for fantasy, one that does not simply eschew the Christian framework established by Tolkien and Lewis that so defines the genre, but complicates it, turning the focus away from destiny and back to moral choice, to human agency.