Dream Journals: Revisiting Bruno Schulz

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To enjoy Schulz on his own terms takes a bit of a mental balance sheet.
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The Quixotic Cringe of ‘The Red-Headed Pilgrim’

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If you’re cringing, that’s the point.
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The Vertiginous Depth of ‘Losing Music’

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In waves of sensory details, Cotter vividly renders his neurotological reality. So vividly that I too began to feel ill.
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What Does a ‘Sweeney Todd’ Revival Owe Us?

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A well-intentioned new production misses the jugular.
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The Autobiographic Assemblage of ‘Still Pictures’

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Janet Malcolm never stopped looking, and she never stopped assembling what she found.
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And When She Speaks: On ‘Fire Season’

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Krow manages to write a novel that is both apocalyptic and optimistic.
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English in the Real World

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Bryan A. Garner is here to update us on changes in how people speak and write in real life.
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Music that Moves: Bob Dylan and ‘The Philosophy of Modern Song’

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Space, simplicity, freedom: these are the principles Dylan returns to throughout the book.
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An Artist’s Discipline: On ‘They’re Going to Love You’

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'They're Going to Love You' is Meg Howrey's second work of fiction set in the ballet world.
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Minor Aesthetics: On Helen DeWitt’s ‘The English Understand Wool’

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The story that 'The English Understand Wool' tells is a DeWittian distillate.
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In Falling, I Learned to See: On Debra Di Blasi’s ‘Birth of Eros’

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'Birth of Eros' is a tight little fist of a book, gut-punching the American Dream.
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Deliverance Is Seldom: On Cormac McCarthy’s ‘The Passenger’ and ‘Stella Maris’

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Sorrow, in 'The Passenger' and 'Stella Maris,' is the likeliest underpinning of reality.
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