Italian Futurism created the template of the avant-garde manifesto adopted by all the ‘isms’ that followed, and violence was in it from the start. “Violence and precision”, the Futurist leader Marinetti proclaimed, is the recipe for a successful manifesto.
I’m just curious if that was something that just kind of happened in the process of writing the book or if you decided to do something that is a little bit more adventurous, or playful, or maybe even a little postmodern, dare I say it?
How is it possible that even when I know nothing about a novelist’s life I find, on reading his or her book, that I am developing an awareness of the writer that is quite distinct from my response to the work?
Orwell’s account of his visit to Crippen’s mine in Bryn, near Wigan, a superb piece of journalistic writing, forms the second chapter of The Road to Wigan Pier and has also been anthologised separately as “Down the Mine”.
I try not to weigh in on ephemeral online outrages, but there's one thing I just can't resist the urge to bring up in connection with the recent flare of fascination with Rachel Dolezal's inner life and its outer expression.
And what clouds! Xu’s slow, tender pan renders them scarlet-tinged, streaked across the sky in Turneresque smears. These static frames, brushed with merely ambient sound, are composed in radiant ignition.