The modern novel feeds almost entirely on free will — a compelling demonstration of the full and rebellious exercise of which, if we are to agree with (among others) Camus, is what separates the literary novel from myth, legend, parable, and genre writing.
FANTASY reminds the reader that as we look at the often broken and crooked stories of ourselves, we can’t forget that history keeps circumscribing us, even as its content eludes us.
The entire effect is TENDER BUTTONS but with interiority, animation of the inanimate that manages to be expansive where it could have been precious, engaging where it could have been stultifying.
Its project is something larger, perhaps more tenuous: to connect contemporary progressivism’s lessons to ordinary public settings, where these lessons most often reverberate.
Taking the allegory of camouflage to its limits, Natural History forces us to think about the unstable role of truth and art in a world where the mediated copy becomes more important than the original.
MY AUTOBIOGRAPHY cracks the normative bounds of literary scholarship and shows us what kind of knowledge production is possible when the researcher drops the veneer of “scholarly objectivity” and makes herself fully present in the research process.