Claire Carlel, a British philosopher and award -winning biography, is fascinated by books that link internal life and the sensitivity of others. “This type of writing is often in the first person,” she said. “Anna” was strongly identified with the writer, but the story is not a direct or fictional biography. ” Carlal recently joined us to discuss four works that are mysteriously sitting in space between truth and imagination. She said, “They are all attempts to make life in art,” so the differences between species are important, specifically because the book see themselves artists. Her comments were edited and intensified.
Exodus 19
Written by Claire Louise Bennett
The drama lies in this novel in the relationship of the narrator, whose name was not revealed with books, in her life while she lived with them: “I read Henry Miller for the first time in France, one night while my friend was outside her boyfriend, and I hated him, and I found her vulgar language in an unbearable manner, which made me feel disappointed in myself.” The unique voice of Bennett pushes the story, and the way in which the intimate relationship with the reader is unusual.
This feeling of familiarity, perhaps, is of the attention of the narrator for its regular daily experience, which it tells in a stream of consciousness. You talk about things that many writers may consider very trivial to put in a book, such as drinking cups of tea and long shower. But there is also a noticeable flexibility of Bennett Nahs: the narrator’s ideas extend that it is very unimportant to the most depth. In fact, it sometimes finds its way to the big notes through the smallest. “Checkout 19” transmits women’s ideas to an intense and cheerful reading experience.
Slow days, fast company
By Eve Babitz
Babitz was from Los Angeles, a city she loves, and this book revolves around her experiences there during the late sixties and early seventies. It is a collection of stories, every organized story about a person you spend time with or a journey in it. Cocktail, restaurants, drugs and beach describe. She separates her and her female friends, their hair style and makeup. Although it is a body, ventilation, and ventilation, writing is driven by a ruthless commitment to beauty, to chase and reveal it.
The last story, “God’s Garden”, is my favorite. It focuses on a young woman, Mary, who loves other women, including Babitz,: “Through some invisible chemistry of Mary, new friendships will be formed between unlikely groups.” However, after Mary’s marriage, she disappears – that people no longer see many of them and because she lost a quiet charisma. In Babitz, which is a radical witness, this looks like a tragedy. Babitz rejects the traditional bourgeois proverb. The aesthetic qualities of people are what you find sacred. They are quick to carry, but she was able to re -write it.
Festival days
Written by Joe Ann Bird
“My first love was poetry, and my second love was the imagination, and my third and permanent love was the article,” Bird wrote in its preliminary note of this group. However, after distinguishing between these types, she admitted that there is a story -like quality of articles in her book. This translates into a truly interesting way in writing; There is usually a major through the line in which the beard and its prose layers.
The title of the title revolves around a holiday that is transported by the beard and friends to India. One of them, Cathy, dies of cancer, which is the last journey that will continue. This is the bow, but the beard is folded in stories and other memories of different times in her life, such as how her former partner left her to another woman. The layer creates a mixture of feelings and intensity that is not different from the journey to India itself – which is very sweet, sad, inspiring and painful. In this way, the beard brilliantly raises an experience to be a human being.
Motherhood
Written by Sheila Hitti
The narrator of this book is a young woman in a relationship with a man she loves, and she is considering having children. The story outwardly about this choice, but Hitty, the philosophical writer, is more interested in the same choice. It is a problem with Kierkegaardian, and by placing the preferred question in a contemporary and feminine context that picks up Heti where Kierkegaard stops. The narrator is attracted to the idea of not having children, as well as to understand where this desire comes from.
Hitti is shrewd and brain, but at the same time is earthy and funny. It does not take itself seriously – which makes the flexibility similar to that “Check 19” – and it adopts the embodiment of females without shame. The narrator describes a period of her, and the way her ideas and emotions fluctuate during her session. People may think that the life of the mind is different from the life of the body, but Hitti’s intellectual curiosity is rooted in a physical experience. Freedom is also essential in the book. The narrator allows her salary, and a Hitti scattering is sporting. I love the way you write her writing – as with the other three authors – a space for readers to explore their ideas and feelings.
