Word: readerly
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Dates: during 2000-2009
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...Nothing personal, dear reader, but Cannes is not a democratic festival like Toronto, where every film is open to the public. You literally can't buy a ticket, though you might be given one, if you implore the desk clerk at your hotel, or perform some congenial act on an assistant producer. Cannes is a convention for movie professionals. Besides the movies chosen by programmers and critics, there's a free-for-all Film Market where anyone can rent a screening room and peddle his product to distributors and reviewers. Some are here to buy, some to sell; others, like...
DIED. A.M. Rosenthal, 84, venerated, combative editor credited with reviving the New York Times during the financially strapped 1970s and transforming the Gray Lady into an engaging, reader-friendly daily; in New York City. Over 55 years, the onetime foreign correspondent rose through the ranks and, as the paper's top editor for 17 years, presided over the winning of 23 Pulitzers--most famously for publishing the classified Pentagon papers, which detailed the U.S.'s secret involvement in Vietnam. His temper, management style and efforts to modernize the Times--emphasizing feature reporting and adding sections like Science Times--drew critics...
...gets mentioned to me. I just want to be honest about the way people are." It's this daring that separates Sittenfeld's work from the stacks of Day Glo--colored chick-lit novels that clog the aisles of Waldenbooks. Here's another example: she never tells the reader whether Hannah is beautiful. "When a female character feels insecure, and then all the other characters are saying, 'But you're so awesome, you're so funny, you're the best!' you almost know that it's this false insecurity," she says. "I feel like, Why write about insecurity unless...
...problem is that in fiction, let alone life, the singular self does matter. Trying to make a Jersey boy who shares Roth's cultural background and birth year (1933) into an archetype, effacing his individuality, inhibits the reader from feeling the protagonist's loss emotionally, rather than just intellectually. (And denying him a name creates pronoun confusion whenever "he" talks to another man.) That Everyman's hero dies is universal. How he dies is not: he is alone, isolated from his brother, sons and ex-wives because of his traits and choices--often selfish, childish ones--but Roth has sketched...
Wherever Fonda’s life may lead, this reader, for one, awaits the next chapter...