DanielleBrylDam

Contributing writer for The Artifice.

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    The New Classics

    What 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"?

    • Genre shouldn't matter re: enduring quality of a piece of literature.It's a little risible to suggest the likes of Shakespeare might be losing ground in the shadow of John Green!Fame doesn't equate to immortality in history, but obscurity tends to mean you're not even in the mix for future consideration.One of the biggest problems nowadays is the general disconnect with "things past", losing touch with history i.e. self-censoring art and literature and creative content based on its date of creation. It not only makes it harder to source new classics but means - for most - the canon of older classics is shrinking. Contemporary fame matters but originality and lineage and breadth of vision should matter more.Also there's a growing parochialism, especially in the Anglosphere - facilitated in part by the net and social media bringing together 'communities' in large enough numbers so they satisfy the 'interaction' instinct most of us possess. If people don't feel the need to step outside their echo chambers, their horizons narrow and their creative output follows suit, eventually becoming mere placebo. All this is a path of least resistance and any book worthy of "new classic" should either transcend this reductionism by scope or scale; or burst the bubble of whatever tribal boundaries might seem to appropriate or contain it.John Green is a sweet guy with a nice turn of phrase but none of his novels yet will be "classics" except maybe for future social historians; and not for the literary merit of the books themselves. Stephen King is different. He's a Balzac type: quantity over quality to such an extent the sheer quantity actually becomes a quality. – magisterludi 2 years ago
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    Latest Comments

    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.

    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