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...story of the book??s circuitous journey from Harvard Yard to Washington Square began in the mid-1980s. In 1985, Harvard’s Afro-American studies program was facing one of its greatest challenges since the dramatic founding of the department in 1969. The administration had, by many accounts, abandoned the department: funding was scant and there were few concentrators. That fall, civil rights activist Roger Wilkins, who was overseeing a newly-formed external review committee, met with Afro-American studies concentrators and graduate students affiliated with the program. “What should University Hall hear...
...describe it she does. Her no-holds-barred exposé is rich in detail and plot. But the book??itself a political narrative—ends at description, failing to provide a true critique of the system by not offering a “solution.” Didion does this intentionally; her goal is to “teach” and to “nag,” not to provide easy answers but to incite critical thought among an apathetic populace. It has the feel of a whistleblower’s account; the reader...
Amazingly, there is no bitterness or blame in Borrowed Finery. The quote that serves as a preface to the book??“After so long grief, such nativity!” from Shakespeare’s The Comedy of Errors—is a fitting testament to both Fox’s past and her present. Borrowed Finery comes at a time when Fox’s adult fiction is enjoying a rather remarkable resurgence, spurred in large part by the newly prominent author Jonathan Franzen, who discovered Fox’s 1970 novel Desperate Characters...
Junger has spent much of the last decade travelling the world and investigating some of the world’s trouble spots. In his new book??the first since his award-winning debut novel The Perfect Storm—he brings together previously published essays from the world’s front lines in a stunningly rich montage of people and death. In essence, it is a book about voyeurism—about our need to watch from the front lines of a war or to stare transfixed at dancing flames of fire—but the underlying...
...because she remains true to the goal of identifying that movement towards clarity and supporting her definition of the memoir. She finishes the section by discussing W.G. Sebald’s The Rings of Saturn, and defends her and Sebald’s field of writing by decrying the book??s occasional classification as a novel and not nonfiction. “[T]he critics cannot believe that the power to make us feel this, our one and only life, as very few novels actually do these days, is coming from a memoirist...