Posts Tagged: full stop

Rediscovering Amber Reeves

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For Full Stop, Emma Schneider reviews a recently republished book: Amber Reeves’s 1914 novel A Lady and Her Husband, which Schneider aligns with “American pre-war feminist classics such as The Awakening and The Yellow Wallpaper.” Reeves’s novel offers a comparatively more practical look at the emergence of pre-feminist concerns at the turn of the 20th century.

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The Writer’s Voice on Social Media

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Voice is not a commodity but the slow accretion of individual perspective. This is a writer’s most valuable asset… Social media isn’t a distraction from the seriousness of what he’s published. It’s an affirmation of his argument’s importance.

Authors today face a unique situation: the presence of social media fueling society’s profound hunger for transparency and reachability in public figures.

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Reality, Fiction, Everything in Between

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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….

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Live-Tweeting Grief

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“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.

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Go Ahead, Break Some Grammar Rules

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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.

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Wright’s Anna Karenina: Noble Failure?

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Amanda Shubert’s essay “Love in Excess: Joe Wright’s Anna Kareninatakes 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. 

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No Animals We Could Name

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At Full Stop, Ben Jahn reviews Ted Sanders’ new story collectionNo 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.

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