Contributing writer for The Artifice.
Junior Contributor I
The New ClassicsWhat can be considered a new classic? Writers like John Green and Stephan King boast quite a large fan base (and literary output), but will they go down in history? Does fame equate to immortalization in literature? After all, many writers were unbeknownst while they lived, but others (such as Shakespeare) received wide fame amid their careers. Whose work can be considered literary? Are they losing ground in the shadow of these modern, famed "genre writers"?
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Cat on a Hot Tin Roof: Internal Guilt | |
This was a fresh, well thought out, and intriguing piece (finally) in defence of the prequels. I never considered the potential mother complex you pointed out between Padme and Anakin… but I cannot forget it. I’d love to see a Freudian analysis of the prequels, further in depth. Even if Freud wasn’t entirely on his salt, you can’t deny it’d be interesting. | In Defense of the Star Wars Prequels |
This Is America is incredibly powerful in lyrics, and the video presents itself almost like a visual satire… Similar to Jonathan Swift’s A Modest Proposal, it’s very obvious that something is wrong: the casual nature of massacre… as you mentioned, the nonchalant way that the video moves on with rhythmic dancing, and an almost caricature-like upbeat tone in Childish Gambino’s face as violence and brutality begins to coagulate in the background. I also find it interesting how the gun itself is handled. In both shootings, the gun is placed on a red cloth while the bodies fall, and no one attends to them. It is a vary powerful echo as to how America currently handles its gun violence; no matter how many people end up grieving, the topic returns to protecting the gun and its “rightful place” in the hands of the common people… despite the potential tragedies that play out over and over. | This is America: Exploring Lyrical and Visual Symbolism |
Williams’ plays always push the boundaries of what was acceptable. From what we can tell of popular culture in the fifties, women were boxed into conservative lives as daughters, or housewives. Williams here uncovers the potential for female sexuality; even if, in this case, it results in messy manipulation and denial. Ahead of its time.