Jane Smiley Essay On Descriptive Critique

Research Paper 27.09.2019

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Jane smiley essay on descriptive critique

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While researching your dissertation on archaic Icelandic languages! Inat age 31, you published your critique essay, Barn Blind. In you published a short story in The Atlantic Monthly, and it won an O. Henry Award. Fast-forward jane three more novels, including The Greenlanders, inspired by that Iceland year, and two descriptive story collections, and a nonfiction paean to of all things!

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Long Distance January Jane Smiley I think it's absolutely important -- and not just for the sake of getting them right. The background janes of any essay tell you a lot about the critique of the situation. It seems to me that changing the details around is a symptom of not descriptive the situation.

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Jane smiley essay on descriptive critique

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It was a fabulous visit, because I ranged around and explored the neighborhood and they took me to a lot of places around England. When we got back to the room, I said, Barbara, you know when they were talking about that stuff? What is that? And she spent three nights answering questions. I was blown away. The one question I remember asking was, So what is sixty-nine? When she told me, I nearly fell out of bed in amazement. I could not believe what that was. She puts her characters through crises and situations — closeted gay life, psychoanalysis, difficult pregnancy decisions, cults, cross-class marriages, plain old bad marriages — that reinforce her thoroughgoing portrait of the times. But the real magic of this novel is that which makes every Jane Smiley book a work of art, recognizably hers: the writing, the writing, the writing. And soul, for that matter, if you believed in souls, which, as a materialist, Eloise did not. The dogs had their noses to the ground — the ground was endlessly fascinating for a retriever, the tracks of deer, raccoons, mice, rabbits, birds, and even a turkey or two. Opa had raised them on stories of flocks of turkeys, flights of ducks, waves of prairie chickens, and even cougars slinking past the window in the night, heading for the sheep in the pen. The first two books and, one can assume, the third of The Last Hundred Years trilogy explore topical issues personal and political, and the way in which history impacts the lives of individuals. But at its heart, Early Warning and one can assume, the entire trilogy wrestles with a single question of human existence, confounding and foundational in every era, and for every living person: What makes a family? Who you are shapes how you are loved. How could we not? The problem he had not solved, or even known existed, was how quickly it passed, every joke, every embrace, every babyhood and childhood, every minute of thinking that he had things figured out for good, and also every moment, just like this one, when his spirits lifted. Will the final installment of The Last Hundred Years measure up to the first two? From our point of view we can look back on that pretty sympathetically. Who would want to live like the average woman in the nineteenth century? Not me. Americans found another way to solve the labor problem: technology. But that really didn't take hold until after the Civil War, so the lives that most women lived are unimaginable to us. In your Harper's essay you wrote that with the "secretive voice of Huck Finn There are tons of works right now that qualify as white meditations upon slavery. I've wondered why, at this point, we need any of that. Mine didn't begin as a meditation on slavery; it began as a meditation on violence. But because I picked a certain place and time it had to contain a meditation on slavery. Anytime -- and this is straight out of Toni Morrison's lectures at Harvard in -- anytime an American ponders his whiteness, he has to necessarily ponder blackness also. To avoid or to think that you don't have to do that is an evasion of your responsibility as a white person. So I think one thing that's happened is that certain writers of my generation, having pondered civil rights, Vietnam, nuclear war, ecological disaster, and all other kinds of ideological questions, now have come around to pondering slavery again, in an effort maybe to understand it, to resolve it, to let it go. The thing that we learned about pondering these big issues is that we could understand them, and once we understood them we could address them in certain practical ways. The dilemma of black-white relations in America is the most intransigent question of American history. It's a question that we have had to come back to over and over again. In the past generation our black writers, thinkers, and theorists have taken the lead in dictating the terms of the discussion, and I think one of the things that is happening now is that white writers of my generation have decided, under those terms, to take up the discussion again. Those essays by Toni Morrison were really central to my thinking about racism, so she's a big influence on Lidie. In A Thousand Acres the story is told from one of the daughters' points of view, and the King Lear character is much less sympathetic than as drawn by Shakespeare, which in a way makes his downfall less tragic. Why did you choose to shift the balance in this way? In King Lear there's a little scene where Goneril and Regan are talking about the number of knights that Lear should be allowed to have around the castle. They sound like women that I know. They're talking about a serious problem of disorder in the household. They say to one another, Why does he need a hundred? Why does he need fifty? Why does he need one? We could take care of all his needs. When I was in graduate school this exchange was interpreted as the cruelest kind of insensitivity and selfishness on their part, but I read it as a perfectly valid concern. These knights are rioting, they're ripping up the castle, and what the interpretations I saw of that said to me was that feminine and domestic concerns were to be given absolutely no honor compared to patriarchal concerns. Feminine concerns are always considered, or have for many generations been considered, to be everything from boring to stupid. So that was what started me wondering, What's going on with these women? Are they really evil, wicked vipers or are they just women whom the play is casting as evil, wicked vipers? It's really clear that the women are very angry about something. If you go back to the first scene -- and this is not from me, it's something I realized when I saw Ran, Kurosawa's movie of King Lear -- who they are is who Lear has made them. He likes to pretend that they are astoundingly evil, and that that comes from some kind of bestial and feminist source in them that has nothing to do with him. But as the oldest son in Ran said, "Father, who we are, you made us. There are interesting little threads of interpretation of King Lear, especially from the folklore critics who were out and about in the s. They said that the folklorists categorized all the fairy tales into groups. And they stuck the early King Lear stories into an incest group. For me the undercurrent is that Lear doesn't seem to know what love is or what boundaries are, and he's very narcissistic from beginning to end. I'm not saying that Shakespeare ever thought of Lear as an incest perpetrator. I am saying that some people think there's a kind of coded reference to incest in this group of folkloric stories, and that therefore you could plausibly attribute the older sisters' deep, deep anger to abuse that they had undergone. My new interpretation of King Lear is slightly different. It's oriented toward a more philosophical problem. When Lear comes on in the first act he defines love as an exchange, a quid pro quo.

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