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By Stuart Mitchner

In her introduction to the 20th Anniversary Edition of Joyce Carol Oates’s Blonde, literary critic Elaine Showalter calls it her “most ambitious novel,” in which she “uncannily channels” Marilyn Monroe’s “inner voice and demands that the star be given recognition, compassion, and respect.”

If you have ever fallen in love with Norma Jeane and Marilyn, the Girl and the Vision, it’s hard to believe that any mortal writer could produce such a book without exploiting so exploitable a human subject. But here the nature of exploitation is a given, like wind and rain, sun and shadow, and the book becomes a weather event driven by Oates’s gale force prose. There’s even an underground wind of sorts in one of the best-known images of the star, which Oates describes in Blonde and quotes from on her website Celestial Timepiece: “She’s standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties.” more

By Stuart Mitchner

In his introduction to the 1946 Scribner’s edition of Henry James’s The American Scene, W.H. Auden observes that while travel is the “easiest subject for the journalist” who requires only “a flair for being on the spot where interesting events happen,” it is the most diffi cult for the artist, “who is deprived of the freedom to invent, free only to select and never to modify or add, which calls for imagination of a very high order.”

Except that, as Auden goes on to show, James found ways to invent, modify, or add, exploiting his “descriptive conceits” with rhapsodies on “the golden apples of the Jersey shore” and the pleasure of “being ever so wisely driven, driven further and further, into the large lucidity of—well, of what else shall I call it but a New Jersey condition?”

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