She writes about “the grace of my parents, for whom exposing me to brutal stories was an act of love.” Stories can be transposed; every word here evolves the question forward.
Read the first two paragraphs and you’ll know that Bennett, a wholly unprecious but fundamentally literary writer, is one of the most exciting writers around.
To prove how much you love ; to prove your love for Colin Meloy, you listen to Tarkio.
There is the same fetishistic interest in variant performances and the same concern for the artist’s preservation from commercial interference.
I have wondered about my beloveds’ personal lives and inspected their songs for hints of autobiography.
If a love of mine sings a song by another musician, I buy that musician’s album too, and try to like it.It offers an account of how writing happens across the course of a lifetime—in between the daily realities of kids and jobs (even pharmaceutical company jobs)—and how teachers inspire us to inhabit our best selves, or at least catch sight of what those selves might look like.There are lines in here that are some of the best descriptions I’ve ever read, casually uttered, as if Saunders could just toss them off before breakfast, which he probably could, and probably does.I have learned about lossless file codecs in order to trade live shows.I have listened to songs recorded by one of my beloveds before he came up with his distinctive sound—before he was any good, in fact—and I have treasured them, because they are, after all, his. I have found obscure, probably unintentional parallels between the lyrics of one beloved’s songs and those of another.In love with Belle & Sebastian, Ben Kweller, the Decemberists, and Sufjan Stevens, I have visited band websites and subscribed to band listservs.I have bought T-shirts, posters, tour-only EPs, and expensive compilation albums from Spain with only one track I can bear to listen to.There is the same attenuated alliance, genial but emulous, with fellow lovers.And there is the same tolerance for trivia and banality in criticism, so long as the critic shares in your worship, and especially if he furthers it.The latter essays, summarizing theories that anticipate romanticism, are as psychological in their concern with the experience of art as the essays on Paradise Lost are formalistic, preoccupied with the structure of the poem and its resemblance to other epics.Addison was eclectic in his approach to literary problems.