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Mare said that the researchers hope that, by choosing two cities that are almost completely different from one another, they produce findings will be highly generalizable...
Referencing Viswanathan’s novel in one of the 618 numbered vignettes that constitutes “Reality Hunger,” Shields reveals his disappointment at the media’s smear-campaign against the young author, then a Harvard sophomore: “Excuse me, but isn’t the entire publishing industry built on telling the exact same stories over and over again?” he asks. “I don’t feel any of the guilt normally attached to ‘plagiarism,’ which seems...
...said to be a ‘manifesto.’ The term implies the creation of an innovative world view, philosophy, or theory—basically, the advent of something new. And although Shields certainly believes his book to elucidate the development of a new art form, one that blurs to the point of invisibility the “distinction between fiction and nonfiction” as per “the lure and blur of the real,” what he advocates is not exactly new, and, as such, does not—at least in terms...
...want to write serious books, you must be ready to break the forms,” he tells us. As an artist, one must understand that what matters is not some artificial plot but rather the truth—or, in other words, the “reality”—one conveys. Shields writes, “[It’s] not the story. It’s just this breathtaking world—that’s the point.” If these are the foundations of Shields’ manifesto, has all of this...
...artists in pursuit of the same common goal, but according to Shields, the work of each nevertheless demonstrates certain aspects of the “reality” Shields demands in art: the replacement of traditional plot structure for the uninhibited emotional current of stream-of-consciousness narration in one and the fixation on the absurd in the other. However, Woolf, Beckett, and countless others who practiced these techniques wrote generations before “Reality Hunger” ever hit the shelves. To that end, what good is a manifesto if it appears almost a century after...