It’s easy to forget that stories are rarely the work of any individual, but part of a collective process of telling and retelling — borrowing, alluding or stealing. There’s reason to be hopeful.
[Shaun Scott] uses the book as an occasion to decenter and problematize the mainstream cultural idea of the American Millennial as any middle- or upper-class white twenty-something with a liberal arts degree trying to make it as, say, a voice of a generation.
Language, poetry, and the act of translation are, then, inherently communal acts because they all involve ways of knowing one’s self, sharing that self, and as a result, eliminating a sense of otherness among communities.
The inability to believe in the future, a failure that we humans have made possible — we have exceeded ourselves, haha! — has created, not unhappiness, but ____________________.
As she deftly mobilizes themes of mobility and immobility, García Robayo demonstrates not only how circumstances catch us with little promise of release but also how we get caught up in the idea of finding a way to escape.
As the endless 24-hour news cycle increasingly feels like performance for profit rather than reporting, CLEAN TIME: THE TRUE STORY OF RONALD REAGAN MIDDLETON rings true with its deft prescience.