In such a world, the trajectory of any one character, however prominent, never escapes being warped by the gravity of another. Even if, as in Preparation for the Next Life, these background figures are no longer alive. Just as marginalization cannot reduce them to zeroes, neither do destruction and disappearance….
Posts Tagged: full stop
By merely wandering, the dérivist frustrates the spatial logic of capitalism, in the process discovering new currents, fissures, and vortices of possibility within a deeply familiar space.
Wandering and drifting have long been championed as means of inspiration, but how does that figure into the politics and configuration of our literature?...more
“The challenge of memorializing doesn’t favor professionals,” writes Sean Minogue over at Full Stop. So, how are autobiographical narratives of loss by Karl Ove Knausgaard, Joan Didion, or Paul Auster different from therapeutic journaling? Minogue takes a look at how these authors express the everyday details of living after a loss, and how new forms of written self-expression, like Twitter, shifts the line between personal and public grieving....more
To what extent am I reading Ulysses by following Ulysses Reader? What does “reading” even mean at this point, given our near-constant engagement with text?
It’s actually the opposite. Most people break grammar rules so they can be more precise.
For Full Stop, Catie Disabato writes about prescriptive vs. descriptive grammar, and why “bad” grammar can be a good thing.
Her data points include Burger King ads, John Dryden’s seventeenth-century grammar campaigns, and use of the word “because” as a preposition....more
Amanda Shubert’s essay “Love in Excess: Joe Wright’s Anna Karenina” takes two of Wright’s film adaptations, Pride and Prejudice (2005) and Atonement (2007), and perceptively compares and contrasts them to Anna Karenina (2012).
According to Shubert, Anna Karenina is a “mess” compared to Wright’s two previous film adaptations....more
At Full Stop, Ben Jahn reviews Ted Sanders’ new story collection, No Animals We Could Name.
The collection, as the title suggests, often skirts the foggy line between the imaginary and the observed, and, for Jahn, challenges the possibility of recounting sensations as truly observed:
“A kind of celebratory regret runs through these stories for the simultaneous adequacy and inadequacy of descriptive language… Sanders invites his readers to believe they could have imagined these sounds....more
At Full Stop, Stephanie Bernhard writes about why we shouldn’t “do” cities.
“To suggest that a city or site can be “done,” like dishes, the laundry, or homework, reduces said city to the limits of the do-er’s consciousness or experience.”...more
At Full Stop, Stephanie Bernhard weighs in on the literary gender imbalance, arguing that today’s literary marketplace is “identity-driven,” which makes it more difficult for women writers to succeed.
“Our culture still offers men a broader spectrum of acceptable personality types than it does women....more
At Full Stop, Amanda Shubert reviews Brian Kellow’s Pauline Kael: A Life in the Dark, while interrogating the particularly vitriolic (and often gendered) criticism that continues to be leveled against the influential film critic.
“Kael spoke to people in a voice they recognized, but she demanded something more from them than they were accustomed to....more
“So here it is: the trade secrets, the panels and moments we kept bringing back up over meals — really, everything that inspired us to discuss hotel arrangements for the 2013 AWP in Boston on our El ride home.”
Full Stop went to AWP and created an illustrated run-down of their favorite parts....more
“If we can find birds on the pages of books, and gods within concrete, it does not seem fantastic to encounter our parents inside of their pots and patios.”...more
“My writing is lots of things but more often than not, the stories and essays I write reflect an allegiance to women and the concerns of women....more