David Morrell's latest novel, Inspector of the Dead, is a sequel, featuring De Quincy and his iconoclastic daughter, Emily. When a killer begins targeting London's elite, Scotland Yard again seeks De Quincy's help.
I feel too many women -- poets or not -- are asked to explain themselves, their bodies, their desires. I want to present a world which is already stripped down; its foundation is that it does what it wants. I would like that of my life in many ways.
Reading all of the foregoing, one might wonder, "How can metamodernism claim to enable a vertical layering of ideas and identities in which no idea or identity is privileged over the others, when by all rights that should be both a physical and metaphysical impossibility?"
The first major change in metamodernism since 2010 is a growing feeling that "metamodernism," as a system of logic, is a recurring phenomenon rather than one that's especially tied to a single moment in world history.
In Cheap Signaling -- a serious and important study of poetic diction in the avant-garde -- Daniel Tiffany posits a revolutionary poetics without positing, too, a paradigm shift away from postmodernism.
Fear means you know you may be incorrect. You may find that when you read your poem as you -- when you abandon those auto-subscribed notions of sound and musicality -- you will reach and offer a much deeper attachment to your work.
I have become an outlier in my own book club. It's an occupational hazard, I suppose, just the lot of the novelist. While the rest of the club read for entertainment and enlightenment, I'm always teasing out plot inconsistencies and dangling modifiers.
What does it mean to have a voice, one that from the first line grabs you and remains with you long after the last one? A strong, unique voice aligned with all the elements of life? Such is the question I have been mulling over of late.
I'm not sure why I love reviews so much and find the reading of criticism so difficult. Maybe it's because reviews are more fun. But it's been helpful to think of criticism not as the enemy of creativity, but as its complement.
The paratextual content in modern Bibles goes far beyond basic features, of course, and there appears to be no limit to the marketing creativity of publishers who continuously repackage the Scriptures.
The trouble with creative writing classes in the modern university is they do not teach writing. Pop-cultural analysis, pop-psychology, and pop-philosophy are discussed, while how to write a compelling sentence is not.
Literature as an experiment engages both the reader and the text in an equal synthesis of interpretation. In this sense, literature becomes an experience, which experimentation must be used to understand it.
A flaw makes for a good character but a flaw also make for a terrifying, if entertaining, politician. The Republican contest is with us for a while longer so to help understand the candidates better, let us turn to comparisons from literature.
The flaws of customer criticism notwithstanding, the ability of readers to offer their feedback into the great public discussion of literature contributes significantly to an interest in reading, and writing.