People tend to be scared of what they can't see.
Capitalism, in the realm of sexuality, I figure, thinks that we behave in specific ways, like a breast is always going to produce a hard-on for some product, whereas the truth is that sexuality is always a continuum, which can be characterized by reversals.
People know that pain is part of our nature, that it cannot be avoided and that it should not be avoided. But capitalism in this country is focused on the idea 1) that life can and should be absolutely beautiful; 2) that beauty can be defined according to an ironclad objective standard; 3) that beauty can be held onto forever if only you do the right things perfectly enough; and 4) that it can be purchased.
I think people on antidepressants often lose sexual feelings. I don't mean that I think sex is only about sadness; it is obviously about joy and vitality and birth as well.
My suspicion is that this is an unavoidable human dilemma, that people will always want to avoid pain, to avoid those who are in pain, and so will be vulnerable to anyone or anything that seems to promise permanent avoidance.
Sadness is simply something to be treated with antidepressant meds and otherwise need not be spoken of.
I am excited by... the new novel by Samantha Hunt. She's a writer I really admire a lot.
I'm not the guy to ask about the most up to date stuff.
In general, each form is a relief from the other forms. I can't write a novel after a novel. I just use up all the material each time, and I need to rest.
Updike worked this way, and I just kinda borrowed it from him. So the memoir will be relief from novel writing for a moment.
I always feel I have made unfilmable books. I even felt that way about a book of mine that was later made into a movie. But my wife, who has made two films, thinks this one would make a very original film. I'm all for original films.
I sort of hate the novel when it doesn't push, restlessly, against the tradition and the traditional.
I read a lot of 'The Canterbury Tales' on my phone last year, because I was cycling between three different editions, and I needed to have a middle-of-the-night edition for the insomniac reading.
I had a talk with the president of my publisher, and he averred that e-books are dropping off . So I wonder if the potential advantages are really going to happen as quickly as they ought.
I published a bunch of my older books in e-book format with Open Road, which is great and has tons of hard to find older books available there.
If I'm going to feel estranged and alienated and away from home I don't want anyone interrupting it to debate which berries to have in their pancakes.
Major theme of the book ["Hotels of North America"], from my point of view: what is persona, what is self, in the digital sphere, and/or what is the effect of it on self in a prolonged interaction.
I have sparred with commenters as a music writer (on The Rumpus, among other places, see e.g., my review about Taylor Swift), and that was plenty of training!
The idea to make hotel reviews the form of the novel came first. So I just started writing hotel reviews and tried to come up with a consistent voice.
The Great Recession is not imaginary, and the effects loom large. There was an article in the NYT about the galloping death rate among white men in middle age. Higher than among any other demographic, etc. Mostly death by drugs, alcohol, or suicide. Many of them rural. My feeling is that it's many people who haven't been able to get back into the work force. Reg Morse is an example of the problem.
I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.
I suppose that the sympathetic/unsympathetic debate about characters sometimes feels to me like a misstatement of purpose. I always think of truly complex characters are falling between the cracks in that debate.
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