There is something a little vulgar about writing a novel that is too close to the present, too concerned with current events, too eager to critique technological advancements.
The series ‘Generation Kill’ is, along with everything else, a sustained critique of the structural and conventional fictions of ‘The Hurt Locker.’
I would never be one to critique the announcers when I watched games. I try to watch the play and listen to the broadcasters and what they are pointing out. I was never one to say this one was good or bad.
Since philosophy now criticizes everything it comes across, a critique of philosophy would be nothing less than a just reprisal.
Crucially, Marxist atheism is only achieved once the theological critique of capitalism is completed. This is what separates Marxist atheism from the gliberal platitudes of the likes of Nick Cohen, who proclaim secularism while remaining attached to the theology of capital (liberal commonsense).
‘This Is Not That Dawn’ is remarkable in part for its careful and sensitive attention to women’s lives – and also for its harsh critique of men and their failure to stop violence.
Dad is the one I turn to for critique. It helps me to keep growing. When he said ‘I am so proud of you,’ it meant so much to me.
Am I an Apple bigot? No. I can critique their products and their customer service philosophy. But overall, they do better than any other player.
Every wrestler I’ve ever had critique me, they were always into my stuff or what I’m doing out there. For a non-wrestler, someone who doesn’t even know how to lock up, and if we did lock up, they wouldn’t know what to do, for them to critique any of us, it really does pop me.
I started writing short stories. I tried writing horror, mystery, science fiction. I joined a little critique group here in town and ran my stories past them. After about three years, I tackled my first novel, Subterranean. It took me 11 months to write.
The heart of the theater is the play itself, how it dramatizes life to make it meaningful entertainment. To achieve depth and universality, the playwright must subject himself to intense critique, to know human character and behavior, and finally to construct art from the most mundane of human experience.
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