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“You’re always gonna be yourself, your unique self, so it’s important to incorporate the things that you really love.”
The omniscient narrator in Natura Morta is flawlessly neutral, allowing the images, minimal action, and characters’ reactions to the events of this single day in a Roman square to tell the story.
“The Haunted Life” is little more than an example of the staggering amount of work it takes for a writer to find his voice, a testament to the years of toil Kerouac put in before forging a style all his own.
After discarding a conventional draft — lots of explanatory narration from the author as a book’s omniscient narrator — Rachel Cockerell decided instead to create the book entirely as a collage of fragments from the historical record.
“The suburbs of Los Angeles are so often neglected in literature and film because they are so seemingly impervious to adoration.”
In his satire “The Golden Dragon,” Roland Schimmelpfennig holds his funhouse mirror up to “theater-people”: be they artists, audience, teachers, or students.
An 1829 opera about Elizabeth I and her supposed lover — enlivened by underhanded threats, virtuous resistance, remorse, and an attempted poisoning — proves well worth reviving.
So now you know: Saddam’s fearsome weapon of mass destruction was a novel.
Book Commentary: Karl Ove Knausgaard’s “Why I Write” — Incomplete Answer
The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
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