Time passes, print publications amass. I never realized before how much the accumulation of periodicals could remind a person that the end is inevitable.
It is impossible to know how these stories will read in a decade or in ten, when the closing of Borders and the description of a character “waterboarding himself with a neti pot” may need to be explained in footnotes.
The lost innocence and deteriorating sanity of AMERICAN HUSTLE’s protagonists is meant to play less as tragedy than as camp.
To read Davis is to be like Josef K. in the cathedral, cast in light that’s dim and getting dimmer. Before long you can’t see at all, as you fumble your way toward the exit. The simple story loses its shape.
Why is writing and reading about sex the source of so much discomfort and uncertainty?
Dave Eggers’ THE CIRCLE is a smart techno-potboiler. Spike Jonze’s HER is an intimate film about our relationship with technology. Together they illustrate the dual relationship we have with the tools we use: they at once make us lonely and promise themselves as the cure for that loneliness.
In the novel, I built up the plot about halfway, and let the characters take over from there; I just watched what they did, and sometimes they did awful, gory things.
Violence and Intimacy in Palestine’s OMAR
It’s possible that my intimacy blinds me to the larger issues at play in OMAR. But it’s also possible that the inability to account for love in so many theoretical approaches to violence is what renders them so useless.
Fourteen ships from around the world anchored in the deepest part of the Suez Canal and simply waited there. For eight years.
Marta Oulie provides a stark, yet personal addition to the conversations of early 20th century Western women writers such as Virginia Woolf and Kate Chopin.