Pancake’s stories are a testament to the notion that the real Appalachia is a fiction born from a need to make sense of a region that, having been depopulated of indigenous people, was then repopulated by settlers who were in turn used as pawns in a mighty extractive industry that left the region scarred, barren, a perpetual social problem to be raised when politically convenient but never solved.
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The tone in Walkman is gentle and nostalgic, the enjambment doesn’t shuck subject from predicate like it used to, the allusions come far less often, and if you’re a partisan of the Obama-era Robbins you will be disappointed by all that.
Pancake’s stories are a testament to the notion that the real Appalachia is a fiction born from a need to make sense of a region that, having been depopulated of indigenous people, was then repopulated by settlers who were in turn used as pawns in a mighty extractive industry that left the region scarred, barren, a perpetual social problem to be raised when politically convenient but never solved.
With each case, Hollars reveals that those who find themselves in the weird world of the uncertain risk being stigmatized and outcast from the very communities to which they’ve drawn attention.
What we have, then, is the same old flawed human being, except now with the power to turn the earth into a giant greenhouse or to blow the human race to smithereens, once and for all.
You could smell panic rising off the hot pavement on the corner of Hudson and High and fear in the cornfields north of 270 where yard signs implored us to Make America Great Again.
The next time they tell you that you are naïve, that it is not as easy as you make it sound, know that it has nothing to do with you.
Seeking fertility treatment, the self is in a state of profound need and transformative possibility, of desperation and choice, privileged to be subjected to medical regimes, precarious and generative.
This archive, in other words, is live. It doesn’t bolster certified versions; it multiplies.
We’re into the quicksand of borrowing and spending for wealthy sports owners again without the news media EVER trying to put into context what we are spending for Haslam, Dolan and Gilbert.
Drawing heavily on writer Simone Weil's theory of love as a form of attention, she depicts this love in a multitude of ways: sometimes personal and intimate, sometimes possessive and toxic.
Or, not really a famous writer, not, I mean, someone whose stories were made into movies or so-called prestige television, not someone who appeared on talk shows or whose tweets went viral as a matter of course, but still a writer famous enough to be asked to give talks at writers' conferences like the one I was attending when I heard this talk.
“Four Dead in Ohio,” still chanted by millions who lived through those times and countless others, some generations younger. It is hard to think of another song that mirrors so effectively the campus mobilization of the moment.
Those captivated by Willa Cather’s distinctive literary style may be aware that the “mature” style of her novels—allusive yet precise, plain yet richly evocative—represents a gradual shift from the more ornate and sometimes overdone writing of her early stories and poems.
Vivian Gornick | Taking A Long Look: Essays on Culture, Literature, and...
The people who run the art world are aware that if a true and great artist were to be recognized during their lifetime, they would have immense power. So the artists who are promoted are the lap dogs, the ones they can control.
If the Covid-19 pandemic has taught us anything, it is that low-wage, service sector workers have an immense reservoir of power and public support.
As a creative process, “erasure” might traditionally suggest the dimming of an original voice to make way for the presence of the contemporary author, but Adams’ project seems invested in something quite different.
I am haunted in the best way possible by how close Stevie Nicks is to wailing toward the end of “Silver Springs,” and that’s pretty much how I felt all the time after cutting off contact with my dad.
Our appearance is tied to our ability to earn a living. Aside from the well documented role our ethnicity/race/gender play in appearance, it is attractiveness that continues to be a controlling tool of a patriarchal, and colonial, but aging civilization.



















