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|Monday, April 7th at 7pm.||
"Touch by touch, Durrell builds his array of sensuous, rare expressions into patterns of imagery and idea so subtle and convoluted that the experience of reading becomes one of total sensual apprehension. No one else writing in English today has a comparable command of the light and music of language."
With Matt Pieknik
|Wednesday, April 2nd at 7pm.||
"Sebald shows the ways in which writers are forced to take positions and sides – the chapter on Rousseau follows him in his years as an exile – but of all the predicaments in which a writer may find himself, the perennial state of just being a writer emerges as the toughest, or at least the most widespread; the 'awful tenacity', the sense that a calling has become a compulsion, afflicts even those who, like Robert Walser, are 'connected to the world in the most fleeting of ways'"
With Kevin Cassem
|Tuesday, April 1st at 7pm.||
"Cruel Optimism is less brutal analysis than a dark, lush still-life of American fantasies and our quixotic lunges toward them. An affective portrait of the 99%."-Caitlin Hu for Bitch Magazine on Lauren Berlant's Cruel Optimism.
|Thursday, March 13th at 7pm.||
"‘Ever to confess you’re bored
Inner Resources.’ I conclude now I have no
- "Dream Song 14" from John Berryman's Dream Songs.
"In the beginning, Berryman might have grown into an austere, removed poet, but instead he somehow remained deep in the mess of things.'"
- Robert Lowell for The New York Review of Books on John Berryman.
|Monday, March 10th at 7pm.||
- From Michael Deforge's Ant Colony.
|Tuesday, March 11th at 7pm||
"Start with your audiences and their needs, then introduce yourself as a catalyst for helping them meet those needs, and a story instantly begins to unfold: Multiple characters and, most importantly, your audiences in a starring role. Conflict between your audience’s desires and their current state. And a plot or journey that you invite them to join you on to reach those desires."
- From Jonah Sach's Winning the Story Wars,.
Friday, March 14th,
La vida privada de los árboles, de Alejandro Zambra(Chile)
Estamos con este libro, entonces, ante una doble negación: la novela como género épico ya no tiene el menor interés y la muerte no es narrable. O desde otro punto de vista: si los valores ya cambiaron y ninguna muerte es prestigiosa –por amor, por servicio, por valentía–, la novela como género es sólo personal; ya no cuenta el fragor de las vidas ejemplares, sino la tímida medianía de los que enfrentan sin gestos vistosos el momento definitivo de sus vidas; un paso más allá –paso al abismo– de la desmitificación que proponía Ortega y Gasset como sentido de lo novelesco.