DOWNLOAD Reality Hunger AUTHOR David Shields


Was being said If I came across something that really got my thinking I threw the book down and went for a walk to mull it over a little Or maybe I would just put it down for a few days read something else and come back to it when I was really interested again in the estions it was posing when the ideas were pulling me back inParaphrasing of course but some of those Poetic Machinations: Allegory, Surrealism, and Postmodern Poetic Form uestions were What sort of responsibility should a memoirist have to literal facts Can we actually trust our memory enough to state anything we remember as fact How much truth is there in fiction How much fiction do we allow in non fiction If fictionses lies to tell the truth can memoir be just another literary genre soaked in the author s subjective experience but the truth of that experience In the Shadow of Empires used only as a means to illustrate something important If the point of memoir is that important bit does it actually have to be married to truth at all Just what is being created in creative non fiction Who owns ideas Do we necessarily always need Form and Story and Narrative and the othersual pieces of storytelling Is the space between truth and fiction actually interesting anywayI don t really have a conclusion on this Like I said earlier the book is a jumping off point and I m still kind of lost in all of the ideas it presented If you re interested in any of those From Pocahontas to Power Suits: Everything You Need to Know about Women's History in America uestions I d suggest you check it out it s reallyite bizarre and I think you ll enjoy it a lot This is an example of the kind of overtly self congratulatory deconstructionist bunk that really irritates me about post modernist writers Shields comes across as very pompous insincere and out of touch making many broad assumptions about what the reading public wants and what writers should do As a very intelligent reviewer noted this is mostly a book about the kind of writing Shields likes namely lyric essays and books that deconstruct the wall between author and subject matter Reality Hunger does nothing that writers haven t ALREADY been doing since the 1950s and many of the The Story of the Orchestra uotes Shieldsses about the death of fiction are out of context and out of dateSo that s the gimmick of this book It s comprised mostly of Only Say the Word uotations sound bites and collected info from other sources Shields does this he says to challenge our views of copyright and idea ownership admitting tos that his editor had to pretty much force his hand to include an appendix citing original sources We were SUPPOSED to read the book not knowing which were Shields words and which words belonged to far better writers Cute Ironically as much as Shields seems to dislike copyright Reality Hunger itself IS COPYRIGHTED and peddled for a pretty profit to graduate workshops all across the country If Shields had truly wanted to counteract our views of copyright and idea ownership he should have published this beastly book online with free access then he wouldn t have had to worry with a silly little appendix at allAside from the parts of the book where Shields essentially discounts storytelling as no longer relevant to Sweet Music on Moonlight Ridge us narrative conventions like plot and character he claims bore him the book is particularly self aggrandizing in a way that really gotnder my skin There is an entire chapter dedicated to the collage form where Shields amalgamates a bunch of Guns of Arizona: A Land Where Legends Are Made uotes about how awesome collage is of course this is the form Shields has chosen for the book it would apparently be too statuso to allow the form to speak for itself Shields is trying to do what visual collage artists do making art with a mix of magazine images and old textbook diagrams superimposing Donald Duck onto a Hieronymus Bosch painting whatever But Shields fails to acknowledge the gap between the mediums of visual and literary collage The overall effect of the book is that Shields is Talking Cures and Placebo Effects using these sources to reiterate his argument or flat out speak for him I m sorry man I know it s a bur in your side but you have to cite the original authorIn all I found Shields philosophy toward writing to be sterile tedious andnproductive The book s only benefit was that it got me formulating arguments in my head about how wrong I think Shields is and how strongly I think that narrative and storytelling DO matter to Bulls and Burglars us still Finally a writer from inside my own head A writer getting into why I like to read a writer who attempts to explain the power that words on a page can have over each ofs the how and why literature is important why writers are so powerful And if Shields is a love or hate him kind of writer which is exactly how I ve heard him described I M In The Love in the love I love literature but not because I love stories per se I find nearly all the moves the traditional novel makes Rambles Around Folkestone: And Other Special Articles (Classic Reprint) unbelievably predictable tired contrived and essentially purposeless I can never remember characters names plot developments lines of dialogue details of setting It s not clear to me what such narratives are supposedly revealing about the human condition I m drawn to literature instead as a form of thinking consciousness wisdom seeking I like work that s focused not only page by page but line by line on what the writer really cares about rather than hoping that what the writer cares about will somehow mysteriously creep through the cracks of narrative which is the way I experience most stories and novelsI spent 2012 reading reading than I have in my entire life And some of my favorite books were the ones I read that I could not easily describenovels sure but something and notite at the same time Maidenhair The Lover Agua Viva all life changing books but all existed on a plane wholly outside of traditional novels Plot was meaningless yet I was held fast to every word in every line on every page because the authors all geniuses let their experiences mingle with every form human language has ever recorded with all the beauty of poetry mixed with spiritual soul searching and philosophical meanderings and all changed my life They are the kinds of writers I want the kinds of books I want to devour live inside revisit again and again and feel my life touched differently every time I turn the page because I will never be the same reader twiceThe kinds of novels I like are ones which bear no trace of being novels Shields gets this Shields is into this Shields s manifesto is a manifesto I can feel much truth in and that s what art is Art is not truth art is a lie that enables The Way of the Scarlet Pimpernel us to recognize truthShields may call his perfect form of literary expression the lyric essay and that s fine I don t really care what he calls it because it can be called anything or nothing at all so long as it exists in form which it does it has and it will The future of our written word is in what he calls the lyric essay it is in the exploration of the human condition by humans wordsmiths who excise writing out of the realm of craft and insert it into artAnd at the same time it s funny how I started reading Swann s Way for Proust 2013 last week and he and his writing style have poppedp in everything I ve read or watched since then At the beginning this book was amazing though then as now I was Stevie unconvinced that the novel is dead Somewhere along the way I got bored and pissed off not so much with this book as with what people on here were saying about its subject matter I almost gavep at w but forged on to z Didn t see that there was anything to sayI note that The Master was nominated for a Man BookerI don t really nderstand what s so threatening about the idea of the novel being out of dateI m surprised by how many of my own thoughts show p in this book Not that I ve ever articulated them as clearly as they are articulated here but the bare outlines pf many have been there in my mind for yearsI remember reading Colm Toibin s The Master a fictionalised biography of Henry James and being disappointed by the lack of a grand nifying narrative Or not so much disappointed as confused I wrote Some novel reading part of me wanted it to have some common thread arching throughout but it is true to life Life is episodic We have our temporary preoccupations our transient obsessions Something that seems monumental at the time will have receded into the minutiae of the past after a few days weeks months yearsThis is of course true When I had a stroke I wanted for a while afterwards to be a neuroscientist I thought subconsciously that it would make a nice rounded pattern perhaps even bringing my life back to some form of order But what I really wanted was not to be a neuroscientist but to want to be a neuroscientist The fact that I had no interest in biology and that brains freak me out just a little bit was irrelevant I only wanted to want to do it because I assumed that I would continue to be as obsessed with my brain for #A LONG TIME IT S NOT # long time It s not really that I would think that something of such magnitude would continue to dominate my life for many years afterwards if not forever but in fact it won t Already it is beginning to recede in importance slowly gradually and it is conceivable to me now that there will be a time some time in the future when it no longer mattersI was talking a few weeks ago to someone about the death of their father ten years ago and I asked if they still felt sad about it They said they did if they really thought about it but mostly they had assimilated it into the narrative At the time I was tremendously excited by the se of this phrase I thought it was Antolog�a Patri�tica utterly perfect for the situation It s very interesting why was I so excited by it I think it s because I realised instinctively that we do think of our life as a narrative even though it is anything but as Toibin s novel illustrates so well Why then do we think of our life in terms of a narrative I think it must just be the craving that we all have for there to be some sort of meaning in our lives Existentialism in other words Connected possibly to the great sense of comfort many derive from religion I think it is possible that David Shields would thoroughly approve of Toibin s biography of Henry JamesI m realising now that much of the confusion at least my confusion I can t speak for anyone else s resulting from Buck s review of Zadie Smith s essays is due to semantics I assumed when Buck said that the novel is dead it meant that no one was writing novels any Which is clearly not true What I think he meant what I think Smith meant was that the novel as a means of genuine original truthful expression is dead though do correct me if I m wrong Which is a point that can be argued though I m not entirely convinced that it s trueSemantics rears itsgly dull head once again in Shields Buck sSmith s definition of the word novel A couple of the authors people held The Lighthouse Keeper's Wife up in defence of the continuing potential for originality of the novel were David Mitchell presumably referring to Cloud Atlas s interlocking interrelated stories and Margaret Atwood Cat s Eye s non chronological plot andse of the present tense Although I see both of those books as novels I suspect that Sheilds for one would argue that they are not or at least that they are books in transition from the novel of the past to something newer pieces of art whose artists have broken ever larger chunks of reality into them Shields definition of the novel is a very traditional chronological narrative driven story not at all resembling the reality of lifeThe earliest ses of writing were list making and account keeping Reality Hunger page 6However many years later the list is not dead even though we are also writing novels Original and excellent lists are being written all the time Ergo the novel is not dead despite the existence of fancruftI know no one was arguing that this book argues that the novel is dead but whatever Duh The novel is not dead even if it is often boring Let s see if me reading this makes me change my mind fancruft often super complex backstories created to explain why stuff happens the way it does in games ie reasons other than the designer thought it would make the game better that way. Old culture in search of something new and authentic it is the most vital book of the new century. Sense Reality Hunger is an ninteresting collage its thesis is simple and so are its ideas about what counts as interesting juxtaposition Last week I posted a pedestrian review of a fairly innocuous book Zadie Smith s Changing My Mind After a slow start the ensuing discussion turned into a bloody street fight names were called knives were pulled and tragically feelings were hurt Pretty much everyone involved lost their shit including me Good times good timesStill I m in no hurry to go through all that again So don t expect me to mount a fresh defence of my admittedly obnoxious views on the novel which haven t changed by the way Instead here s what I ve done aping the collage format of Reality Hunger I ve taken some Chosen by the Lieutenant uotes from the book and a few other sources spliced in some comments of my own from old reviews and threads and jumbled them all together in a crunkadelic display of literary turntablism For you sticklers out there I ll paste a list of attributions into the comments below Don t hate Masturbate Reality Hunger dance remix 1Whenever I pickp a contemporary novel I m nagged by a very simple very na ve What Is Madness? uestion Why did this thing get written Andsually I suspect the answer would be Um well we re supposed to write novels aren t we WRONG You re supposed to investigate reality dumbass in all of its beautiful and horrible multifariousness and a tidy little Booker bait novel isn t necessarily the best way to go about it2I ve always had a hard time writing fiction It feels like driving a car in a clown suit You re going somewhere but you re in costume and you re not really fooling anybody You re the guy in costume and everybody s supposed to forget that and go along with you3I still read the odd novel but I m growing increasingly This Pagan Heaven unwilling to suspend my disbelief I find myself thinking Come on man you re just making that shitp4All the technical elements of narrative the systematic Paladin's Redemption use of the past tense and the third person thenconditional adoption of chronological development linear plots the impulse of each episode toward a conclusion etc tended to impose the image of a stable coherent continuous Yoga for Everyone: 50 Poses for Every Type of Body uneuivocal entirely decipherableniverseTwo hundred years later the whole system is no than a memory it s to that memory to the dead system that some seek with all their might to keep the novel fettered5In 1963 Margaret Yourcenar said In our time the novel devours all other forms one is almost forced to se it as a medium of expression No Increasingly the novel goes hand in hand with a certain straightjacketing of the material s expressive potential One gets so weary watching writers sensations and thoughts get set into the concrete of fiction that perhaps it s best to avoid the form as a medium of expression6Punk rock died when the first punk said Punk s not dead 7Jazz as jazz jazzy jazz is pretty well finished The interesting stuff is all happening on the fringes of the form where there are elements of jazz and elements of all sorts of other things as well Something similar is happening in prose Although great novels novelly novels are still being written a lot of the most interesting things are happening on the fringes of several forms8At this moment all over the world nice old men are playing slavish imitations of classic Dixieland jazz At this moment all over the world nice old ladies are painting pretty neo Impressionist landscapes and selling them to tourists at the local farmers market And that s swell Have fun with that But let s not pretend they re producing vital art9In the beginning was the Word In the end there is only Clich 10All novels attempt to cut neural routes through the brain to convince s that down this road the true future of the novel lies In healthy times we cut multiple roads allowing for the possibility of a Jean Genet as surely as a Graham Greene These aren t particularly healthy times A breed of lyrical Realism has had the freedom of the highway for some time now with most other exits blocked11Some of the most brilliant reviews I ve read on Goodreads have been genre benders mashing Dreamsnake up elements of criticism memoir personal essay satire and whatever else And a lot of these reviews inadeuate term ring truer to me than the novels they re typically supposed to be about Anyone else noticed that12In my experience a good 90% of life is just a bunch of nondescript stuff that won t fit into a slick narrative that isn t even worthy of an anecdote13Story seems to say that everything happens for a reason and I want to say No it doesn t14Conventional fiction teaches the reader that life is a coherent fathomable whole that concludes in neatly wrappedp revelation Life standing on a street corner channel surfing trying to navigate the web or a declining relationship hearing that a close friend died last night flies at The North American Journals of Prince Maximilian of Wied: April–September 1833 us in bright splinters15I do not doubt that there is far in trivialitiesinsects vulgar persons slaves dwarfs weedsrejected refuse than I have supposed16If you write a novel you sit and weave a little narrative If you re a romantic writer you write a novel about men and women falling in love give a little narrative here and there etc And it s okay but it s of no account17There is no nobler pursuit than the contemplation of reality 18Walker Evans called his photographic style lyric documentary When an editor tried to remove some flies from a white bedcover in a photo of a farmer Evans indignantly demanded they be put back in 19We have too many things and not enough forms20Madame de Stael said that the contents of the gutter in the Rue de Brac were of interest to her than the beautifully framed landscape paintings in the art galleries21I m not advocating relentless avant gardism for its own sake I don t even know what I m advocating I m not smart or presumptuous enough to tell writers what they should be doing or to do it myself But I mean Christ look around we live in a hugely complex extremely dangerous world full of technological wonders political savagery horrors of all kinds and these guys are trying to capture it all in their careful little daguerreotypes22Okay straightp read whatever you want literary fiction TekWar twincest themed erotica whatever turns you on and makes you feel less forsaken in this bitch of a world If some jaded douche like me happens to think the novel is aesthetically defunct that doesn t have to hinder your enjoyment Besides I m not out to kill off the novel I just want to reduce its carbon footprint I m arguing for forms not fewer freedom not less Above all kick ass literature in whatever genre or medium That s not so Silence unreasonable is it Interesting I loveotations I love reality I love Dr. Koto Vol. 9 unconventional prose styles So I m the target audience for this I ve been meaning to read this for a while but seeing David Shields speak at MLA was the thing that finally pushed me to actually do it This is an amazingly fun book to read debate with dip in and out of Every few pages contains something goldenI love literature but not because I love stories per se I find nearly all the moves the traditional novel makesnbelievably predictable tired contrived and essentially purposeless I can never remember characters names plot developments lines of dialogue details of setting It s not clear to me what such narratives are supposedly revealing about the human condition I m drawn to literature instead as a form of thinking consciousness wisdom seeking I like work that s focused not only page by page but line by line on what the writer really cares about as opposed to work that assumes that what the writers cares about will magically creep through the cracks of the narrative which is the way I experience most stories and novels Collage works are nearly always about what they re about which may sound a tad tautological but when I read a book that I really love I m excited because I can feel the writer s excitement that in every paragraph he s manifestly exploring his subjectIs it possible that contemporary literary prizes are a bit like the federal bailout package subsidizing work that is no longer remotely describing realityAll so good And I think the furor over his death of the contemporary novel and homage to plagiarism stuff is a bit misguided Shields s argument is subtle and textured than that and the whole book reads like what it is a manifesto for thinking literature as compared to that Franzen shit Posted at Heradas ReviewYou ll Sworn Sword: A Free Preview usually find this in the literary criticism section of a book shop and having now read it I can t exactly argue with that placing but I can say that it would also be right at home in many other sections cultural anthropology sociology memoir philosophy history poetry or even general fiction if I m feeling particularly objective It s a lot of things in one which means that the book itself fully embodies the crux of its own argument to get all postmodern on you which simply put is the distinction between fiction and non fiction is not as black and white as we think Or written another way andoting directly from the book Writing is writing Every act of composition is an act of fiction I picked this book Armagnac: The Definitive Guide To France's Premier Brandy up and put it back down several times before eventually breaking down and buying it I kept bumping into it at my favoritesed bookshop thumbing through it and reading little bits here and there finding myself confused by the format was it a book of Modern French Culinary Art -The Pellaprat of the 20th Century uotes or a book of random thoughts eventually judging it too odd and putting it back on the shelf The next time I came back it would be gone of course and I found myself missing it getting what I would consider the opposite of buyer s remorse wishing that I had taken it home with me when I had the chance Eventually of course another copy would showp on the shelves and I would start the whole process over again Eventually that Chip Kidd cover won me over and I took it homeThis is basically the postmodern literary euivalent of building a song out of samples I was about halfway through before I realized that a huge chunk of this book is sourced from elsewhere remixed modified recombined and sed interstitially between genuine writing done by Shields himself to tie this whole crazy opus together It s brilliant and absurd and since it s sourced from hundreds of different people it speaks in a lot of contradictory absolutes about art writing reality reality memory copyright fiction identity persona subjectivity the nature of creativity etc It contains a lot of things I agree with a lot that I don t and a lot that I m not so sure about any Whatever it is it s deeply misunderstood Read a few reviews and you ll find people who hate it with a passion or ecstatically adore it You won t find too many in the middle Which honestly is the exact kind of reaction you want something to evoke in others Otherwise it s just mediocre right Anyway I think those people with intense opinions on it are thinking way too Literally And Might Benefit From The Practice Of Trying To and might benefit from the practice of trying to two opposing opinions in their heads at the same time and mulling them over I think what this book really is is a jumping off point to start a conversation about off point to start a conversation about is real what is fake and why ltimately maybe it really doesn t matter that much and maybe we should stop classifying things and let art be art Let journalism handle facts and let both our non fiction and fiction pieces of art just be pieces of art Maybe we don t need to worry about which box to put things in any Maybe the process of telling a true story injects it with fiction anyway Or maybe none of that too Or maybe and this is realistic here just some of it Pick and choose etc It would be a mistake to read this Pandora Gets Lazy uickly which is easy to do since it s so short and presented in little bite size chunks There s just too much going on here to rush through it It s a genuine book of ideas I had to take a lot of breaks short and long to give myself time to process the concepts I took a lot of notes to organize my thoughts trying to get to the bottom of what I was feeling about what. Ry film TV rap standp graffiti sampling plagiarism writing and reading In seeking to tear The School of Hard Knocks: Combat Leadership in the American Expeditionary Forces up the. ORIGINAL REVIEW1 Why not live a little Mimesis isn t so bad 2 Huh OK I ll bite 3 Shields main argument is that the lyric essay is better able to represent reality than narrative fiction because reality is far fragmented and less constructed than a linear plot 4 Whatever Shields might choose to call this the book is a work of criticism and Shields is the critic 5 I sort of enjoyed how the book s assertions self indulgences and occasional arrogances irritated and annoyed me 6 Frammentazione ebiuit dell informazione spingono ineluttabilmente verso il mash Cabal up pi che il collage e la letteratura non pu sottrarsi aesta tendenza 7 Walter Benjamin s The Arcades Project is similarly structured not that I ve read the copy I ve owned for almost ten years 8 Some of the most brilliant reviews I ve read on Goodreads have been genre benders mashing Standby Nurse up elements of criticism memoir personal essay satire and whatever else 9 Is the novel dead Can you copyright reality Is art theft 10 The I think about this book the less I like it 11 Art is art when it impacts when it challenges accepted norms and when it denies culpability 12 LIFE CHANGING MANIFESTO A VERY IMPORTANT BOOK YOU SHOULD READ RIGHT NOW 13 I imagine David Shields wants to stab a whole lot of old things living dead or abstract in the eye for the sake of it 14 If you have any thoughts on this book or this idea please jump in with them Thanks April 15 He makes his points in a bulleted list creating a collage ofotation misattribution lyric parable and just about anything else he feels like throwing in there 16 Look this book sucks This book made me angry Shields s manifesto is a numbered collection of 618 thoughts and Young Junius uotes of varying lengthsnited by one common principle We no longer have time for anything but reality in our literature the old standbys of plot and character are as The Birkenhead Drill useful as the horse and buggy Did you know the novel was dead In its place Shields prefers memoir or rather a reframing of the real That s the way Shields describes Tina Fey s SNL portrayal of Sarah Palin and it s also aseful description of the kind of writing that excites him There aren t too many examples provided but broadly s The Challenges of Writing a Collaged TextWhy revisit Reality Hunger The book s central argument is that the devices of the novel including plot or narrative character voice and genre are obsolete and that appropriation randomness fragmentation and other strategies of collage can restore a sense of the real In its general form that Tales From Greenfuzz 3 uestion is still open in contemporary fiction Yet I still find Reality Hungernconvincing Here I will try to pose two Ambush uestions1 What counts as collage in Shields s bookAs Wojciech Dr g has pointed out Shields s principal models were the concept of the lyric essay and collage or mosaic The former is annevenly theorized form It is associated with John d Agata and carries associations of first person or lyric address but for Shields it was apparently mostly a matter of eclecticism heterogeneity and fragmentation The latter collage or mosaic is the subject of Dr g s book In his wordsCollage embodies most aspects of the idea of art advocated in Shields s manifesto including the central proposition of drawing on reality in the form of raw Leaves and Stems from Fossil Forests: A Handbook of the Paleobotanical Collections in the Illinois State Museum unprocessed material As he explains in the collage section borrowing the words of the poet Charles Simic found objects and ready mades abolish the separation between art and life 340 Their familiarity helps create an immediate identification between the viewer and the work of art 364 Dr g suggests that Shields s main points of reference are D Agata Jonathan Lethem especially his essay The Ecstasy of Influence A Plagiarism 2007 Jonathan Raban and Dave Eggers What Shields has in mind is perhaps clearest in this passageA deliberatenartiness raw material seemingly Ein Paradies aus Nichts unprocessednfiltered The Psychopath Test: A Journey Through the Madness Industry uncensored andnprofessional Randomness openness to accident and serendipity spontaneity artistic risk emotional rgency and intensity readerviewer participation an overly literal tone as if a reporter were viewing a strange culture plasticity of form pointillism criticism as autobiography self reflexivity self ethnography anthropological Autobiography A Blurring To Point Of a blurring to the point of any distinction between fiction and nonfiction the lure and blur of the realReality Hunger 3 Dr g Collage in Twenty First Century Literature in English 87It s interesting that Shields likes the word mosaic because it imples the fragments add to form a single continuous image Tesserae would have been nearer the mark What he is aiming at is in irrecuperable state of fragmentation because the operation of fragmentating is itself what will restore reality and expunge the obsolete elements of the novel This kind of collage needs to avoid being a single coherent image a mosaic Parenthetically the identification of fragments appropriation and discontinuity with the real makes Shields s argument susceptible to James Wood s objection that Shields poses reality in an overly facile way against fiction Writers like Reznikoff and Metcalf might well have agreed with what Wood implies fragmentation and appropriation in their work hardly make the texts real See Wood Keeping It Real The New Yorker 7 March 2010 Benjamin here is the better example but even his work is not intended to produce a heightened effect of reality he might have found that an amusing symptom of a certain bourgeois longing in relation to literature His own project was about assembling a dossier to exhibit certain thoughts about culture2 Is Reality Hunger originalWhy does Lydia Davis think every page abounds with fresh observations In Dr g s count over two thirds of the entries are exact or modified otations from other writers Shields says his editors told him he had to acknowledge his sources and as a Result It S Possible To it s possible to which entries he wrote himself The original sections make disappointing reading They tend to be either cliches of literary criticism and history or On The Fence undeveloped literary theorySection 58 reads in its entirety My medium is prose not the novel Why I wonder doesn t he feel it is necessary to look closely at the word prose here since it is doing so much work for him Section 140 reads Plot like erected scaffolding is torn down and what stands in its place is the thing itself This is part truism and part surprisingly naive realism Perec for example could be said to have wanted to tear down plot but he wouldn t have said that what remains is the thing itself that almost sounds like George Steiner in Real Presences 1986Section 457 is another example of a one sentence manifesto that doesn tite get to the end without a twist into ambiguity or obscurity It reads So no masters no masterpieces What I want instead of God the novelist is self portrait in a convex mirror This is over complicated the first part is against the naturalistic novel and the traditional role of the author as in Foucault s or Barthes s critiues but the last clause is an allusion to John Ashbery s Self Portrait in a Convex Mirror and to the Parmigianino original and those allusions are semi opaue Mary Mc Leod Bethune Papers: The Bethune Foundation Collection (Black Studies Research Sources) unnecessarily metaphorical andnaccountably coySection 307 reads also in its entirety There s no longer any such thing as fiction or nonfiction there s only narrative Is there even narrative No graduate student would be allowed to write like this his leading terms in this case narrative are allowed to stand without explanation and his positions are at once polemical and vagueSections 234 to 236 are also original they are Fenway Fiction: Short Stories from Red Sox Nation unremarkable observations about popular culture Section 236 for example begins What does it mean to set another person before the camera trying to extract something of his or her soul When are we exploiting When are we caressing Other people have said these things so much exactly at such length so much elouently Section 310 is another original section on popular reality TV It breezes over themes that need to be closely articulated The bachelorette on the brink of true love with one of several men she has known for seven hours the cad who manipulates his beloved on cue two narratives false actualization and authentic shame The success of the genre of reality TV reflects our lust for emotional meaning Does Lydia Davis really admire criticism like thisThere are sections similar to these section 428 for example is a page long contribution on Nabokov which issed to make an Highschool of the Dead, Band 2 unremarkable point about autobiography and its independence from plot Section 456 is also a relatively long passage on how plot isn t a tool intelligence is Section 473 is autobiography it s informative but nearly free of interestSnide literary jokes are also scattered through the sections of the book that Shields wrote Section 458otes Nabokov but in the footnote Shields says that in honor of the author s Olympian hauteur he corrected Nabokov s grammar Section 139 begins In the end I missed the pleasure of a fully imagined work this turns out to be a Rick Stein’s Secret France uotation from a review of one of Shields s books Section 145 another original section is a mean spirited listing of a Verboten thematic secular Jews laureates of the real tend to be better at analyzing reality than re creating it Harold Brodkey most of the essays Philip Lopate s introduction to The Art of the Personal Essay Vivian Gornick pretty much everything At the end of this list he tries to patch thingsp by associating these authors with certifiably important people And of course less recently Marx Proust Freud Wittgenstein Einstein That gambit of putting someone down and then trying to make it sound like a compliment never works it betrays a superficial sense of rhetoric And the passage is painted with such a broad brush that it s impossible to make much sense of it anywayThe original texts in Reality Hunger don t strike me as original Benjamin s original interpolations in the Arcades Project can be much thoughtful In a certian sense they shouldn t because they argue for Guide to the History of the Laws and Constitutions of England: Consisting of Six Lectures, Delivered at the Colleges of Ss. Peter and Paul, Prior Park, Bath unoriginality But there is a crucial difference between arguing for a practice ofnoriginal writing and claiming that the argument itself does not need to be original Shields s book presents itself as a polemic ie a timely and therefore original interventionThere is a historical problem with the implicit claim that collage or mosaic are needed now In one sense this is Washington Square Moves unproblematic Perloff s book Unoriginal Genius traces a history of collaged texts to Benjamin and she includes postmodern texts like Anne Carson Kenny Goldsmith and Jan Baetens I wish she d said about Charles Reznikoff and especially Paul Metcalf whom I ve written about on this site their senses of what to do with collaged texts are among the most interesting Collage as a literary strategy has a genealogy in early 20th century modernism But in what sense then is it a postmodern or contemporary gestureIn fact shards another of Shields s many terms and fragmentation are not only not specifically postmodern they are premodern First generation German romantics like Novalis explored fragments as ways of discovering a new kind ofnity Novalis s Notes for a Romantic Encyclopedia is still amazing and it is not a realist manifesto There is also scholarship on the romantic nature of the shard for example by the philosopher Guy Sircello So what s at stake in Shields s book is a particular reaction against a particular sense of the novel one that draws selectively on a restricted history ConclusionIf I read Reality Hunger straight through without looking at the notes I do get a collage but then there s the Black Men in Britain: An Ethnographic Portrait of the Post-Windrush Generation uestion of what kind of collage it is whether it is disruptive dissociative genuinely and constitutionally fragmented or whether it develops and depends on resonances andnexpected harmonies between its isolated entries I don t mind genuinely random assemblies of fragments as in Burroughs but most literary collages from Pound and Eliot to Benjamin Reznikoff Metcalf and Markson work by implying or proposing new forms of order In that. Synopsis Reality Hunger estions every assumption we ever made about art the novel journalism poet.

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  1. says: DOWNLOAD Reality Hunger AUTHOR David Shields

    Free download Reality Hunger DOWNLOAD Reality Hunger AUTHOR David Shields David Shields ↠ 0 Free read Posted at Heradas ReviewYou’ll usually find this in the literary criticism section of a book shop and having now read it I can’t exactly argue with that placing but I can say that it would also be right at home in many other sections cultural anthropology sociology memoir philosophy history poetry or even general fiction if I’m feeling

  2. says: DOWNLOAD Reality Hunger AUTHOR David Shields David Shields ↠ 0 Free read

    DOWNLOAD Reality Hunger AUTHOR David Shields Last week I posted a pedestrian review of a fairly innocuous book Zadie Smith's Changing My Mind After a slow start the ensuing discussion turned into a bloody street fight names were called knives were pulled and tragically feelings were hurt Pretty much everyone involved lost their shit including me Good times good timesStill I

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    DOWNLOAD Reality Hunger AUTHOR David Shields ORIGINAL REVIEW1 Why not live a little? Mimesis isn’t so bad 2 Huh OK I’ll bite 3 Shields’ main argument is that the lyric essay is better able to represent reality than narrative fiction because reality is far fragmented and less cons

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    David Shields ↠ 0 Free read characters ì PDF, DOC, TXT or eBook ↠ David Shields DOWNLOAD Reality Hunger AUTHOR David Shields This is an example of the kind of overtly self congratulatory deconstructionist bunk that really irritates me about post modernist writers Shields comes across as very pompous insincere and out of touch making many broad assumptions about what the reading public wants and what writers should do As a very intelligent reviewer noted this is mostly a book about the kind of writing Shields likes namely lyric essays and book

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    characters ì PDF, DOC, TXT or eBook ↠ David Shields David Shields ↠ 0 Free read Free download Reality Hunger Interesting I love uotations I love reality I love unconventional prose styles So I'm the target audience for this

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    DOWNLOAD Reality Hunger AUTHOR David Shields David Shields ↠ 0 Free read This book made me angry Shields's manifesto is a numbered collection of 618 thoughts and uotes of varying lengt

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    DOWNLOAD Reality Hunger AUTHOR David Shields Finally a writer from inside my own head A writer getting into why I like to read; a writer who attempts to explain the p

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    DOWNLOAD Reality Hunger AUTHOR David Shields I've been meaning to read this for a while but seeing David Shields speak at MLA was the thing that finally pus

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    Free download Reality Hunger David Shields ↠ 0 Free read characters ì PDF, DOC, TXT or eBook ↠ David Shields The Challenges of Writing a Collaged TextWhy revisit Reality Hunger? The book's central argument is that the devices of the novel including plot or narrative character voice and genre are obsolete and that appropriation randomness fragmentation and other strategies of collage can restore a sense of the real In its general form that uestion is still open in contemporary fiction Yet I still find Reality Hunger

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    DOWNLOAD Reality Hunger AUTHOR David Shields At the beginning this book was amazing though then as now I was unconvinced that the novel is dead Somewhere along the way I got bored and pissed off not so much with this book as with what people on here were saying about its subject matter I almost gave up at w but forged on to z Didn't see that there was anything to s

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