Darryl Campbell has had enough of the clichés abundant in book reviews so he’s devised some alternatives. “If fine artists aren’t your thing,” Campbell writes, “then maybe American presidents might be a better comparison: ‘Taft-like excess,’ ‘Cleveland-esque genre-bending’ or ‘Clintonian eroticism’.”
“Since the middle of the 20th century, the academy has conditioned us to stay grounded within texts and steer clear of writers’ biographies for insights while biographers are often timid about the kind of playful speculation that we can undertake here in Slate. Readers, myself included, tend to wonder about the sources for characters the likes of Kurtz, Sherlock Holmes, and Jay Gatsby—larger-than-life, mysterious, existing on a kind of separate plane—and in doing so we are continuing the quests of the narrators who tried first (Marlow, Watson, and Carraway).” Matthew Pearl asks: was Robert Louis Stevenson the blueprint for Conrad‘s Kurtz?
“But even among its peers, Louie is an outlier. It is a show that, more than any other, both caters to this new kind of audience — the Laptop Loners — and has, as its creator, a member of the club…we are living in the iGeneration, in which the self is projected back toward the world via social media. But whereas many Americans weave their public personas from curated chains of cultural signifiers — think of the popular web platform tumblr, where users ‘express themselves’ by posting digital reproductions of existing images — [Louis] C.K. aims for something more penetrating, a filmic representation of his own psyche,” claims the Los Angeles Review of Books.