Representation in today’s media is questionable in many ways. But Othello does provide us with a rule of thumb: we have to speak of others as they are.
But he offers an interesting lens through which to view both the hunger artist and Thoreau: while they offer their lives as tragic, the audience always receives them as comic.
This is what happens to Tolstoy’s female types. His bias of women wears the garment of universal truth: either they are attractive, childless, and morally suspicious charmers, or plain, dumb, dedicated mothers.
I spent a lot of time rereading the same books I used to sneak into my desk back in old days. We don’t need to feel apologetic about loving these books.
I couldn't pay attention to that, not to write the novel I wanted to write. We can't let our work be driven by the anxieties around narrative scarcity.
I certainly worried, wondering whether I could pull it off. But I either had to write a second book or disappear. Much better, I thought, to get on with it.
The term Kishōtenketsu is often used to describe the development of a classic East Asian narrative. It includes four different acts: introduction (ki), development (shō), twist (ten), and conclusion (ketsu).