March The Amusing Ourselves to Death comic: I proactively contacted them, and received notification that they would prefer the comic was removed. Respecting their wishes, I removed the comic without hesitation.
This is the conclusion I have come to after looking at this non-controversy boiled up by writer Francine Prose — on Facebook, of course, where perhaps one should let non-controversies lie.
The good thing about the controversy is that it made me read both stories both are good. The bad thing about the controversy is that I got tired, again, of readers who seem to have no clue what the imagination means beyond the borders of narrow, realist strategies, and who evince no curiosity and have no clue about the writing or reading ways of others.
This country is now led by President Amusing ourselves to death essay, also a social media author, like Francine Prose, but of dumb tweets, a man who has no imagination beyond the borders of his narrow, racism-clogged brain, a brain that evinces no curiosity or clue about the thinking or living ways of others.
Through this strategy of inversion, his plots become invariably reflexive — one has to retread ground to read his plots well because his inversions require our reimagining of the words that came before.
Menard has a history of reading Cervantes does not have. My sense is that Concord, Hertfordshire, and Tacloban all gain from such intertextual couplings. One could almost call the trick Borgesian, though it was realist, and a reflexive, playful strategy was not apparent.
The Pakistani couple returns to Karachi during the Trump era instead of staying, and they reminisce about their time in the blandest town I do not want to live in: In both stories, a man is assigned to work with a prim, religious co-worker from a background like his own.
In both stories, the men have beautiful, socially ambitious wives. The couple are taken up by rich people, but when the wife tells a lie, the rich people drop them. Fishing for information, they invite her to a hugely awkward dinner at which she refuses to eat. They have an intense, long, revelatory conversation.
Such useless dudgeon over details that in fact should have given Prose a clue, if she could read 21st-century prose — if she could read outside her lens. By invoking Gallant through fiction so clearly and carefully, Shepard relays the double-consciousness that might lie in a reading of Gallant by a writer of color — particularly a woman writer of color.
Shepard has gallantly doubled our pleasure in Gallant. They treasured the card and left it standing long after the others had been given to the children to cut up.
In fact, one might miss them, pre-Shepard. And so on and so forth: She wrote in a Facebook post: As someone who was familiar with the Mavis Gallant story and recognized the parallels, I enjoyed it as an homage … It was a re-imagining of a story … I also wonder if I have a different bias as a South Asian immigrant who grew up here consuming literature that was considered universal and never seeing myself or my community in the stories I loved.
So I grew up constantly, constantly re-imagining those stories with characters who were not white, thinking what would this story be without that default? Would it still be universal?
Ambiguity and splitness are the fates of all humans — no one has a singular identity, as all of us know as we move from one role to the next, office to subway to home to death.
But the ambiguous identity of the immigrant on that subway is often visible, sometimes tragically. More importantly, the ways of immigrant seeing are double-brained — there is the majority world that encompasses you and that you would be foolish to reject outright; and there is the world of your specific upbringing that you would also like to bring to the world.
I am not being generous in saying that; I am being accurate. She gives us therefore both a larger history of reading, and an individual response to a story loved. I imagine that is why she gave the title those double-edged words. I write here sharply about Francine Prose not because I disdain her — she is, of course, entitled to her ways of reading.
But I do not understand why she cannot immediately claim for Shepard what is so obviously an old literary trope:Amusing Ourselves to Death Public Discourse in the Age of Show Business Television has entered our homes at an alarming rate since its first conception.
The result is that we are a people on the verge of amusing ourselves to death ().4/4(4). The Amusing Ourselves to Death comic: Neil Postman’s ‘Orwell versus Huxley’.
Long-time readers will remember a comic I posted in May called Amusing Ourselves to ph-vs.com was an adaptation of the foreword to Neil Postman‘s Amusing Ourselves to Death, a book originally published in The passage compares the futuristic visions of George Orwell’s Nineteen Eighty-Four with.
The more choices technology gives us in nearly every domain of our lives (information, events, places to go, friends, dating, jobs) — the more we assume that our phone is always the most empowering and useful menu to pick ph-vs.com it?
Sample the Skeptic's Dictionary. Lourdes. In , at a grotto by the river Gave near Lourdes, France, a year-old peasant named Bernadette Soubirous claimed that the Virgin Mary, identifying herself as "the Immaculate Conception," appeared to her .
"Smith conceived of the process of increasing production as 'division of labor' into more and more steps, with each laborer specializing in a smaller slice of the process. Publishers Weekly-In this back-to-back double essay (flip it one way, it’s Death by Volk, flip it the other way, it’s Sex by Sagan), two curious scientist-philosophers ponder the relationship between mortality and the chain of being.
Sagan (Notes from the Holocene), the co-director of Chelsea Green’s science imprint, takes a romp through evolution beginning with a neatly detached.