Why is Hamlet so maddeningly indecisive? It’s a question as well-trod as any in literature, yet few people question that dithering is what defines the Prince of Denmark. In The Irish Times, Brian Dillon looks at another way of thinking about the character, one laid out in a recent book, that centers on the idea that Hamlet is crippled by “the burden of knowledge itself.”
"The Hatchet Job Award appeals, in its depressingly calculated way, to the basest and most self-serving of journalistic instincts, and seems to arise out of, and perpetuate, a misunderstanding of what criticism actually is." At Slate, our own Mark O’Connell criticizes the award for promoting the same bad criticism it claims to detest.
Assume any young artist you don’t write about will die of starvation tomorrow. (They won’t, but their art might.)
Critics who have taken up the dead author standard would have us regard creative work as an elaborate Freudian slip: don’t read for what a writer is trying to say, read for what they’ve said in spite of themselves. That’s wrong. Literature (and all the arts, really) is the product of concentrated, intelligent minds to which we are granted intimate, but temporary and incomplete, access.
So why is GONE GIRL scary rather than kooky? Primarily the characters’ apparently everyday behavior—their motivations and how they view one another. Amy and Nick do not resemble actual people so much as grotesquely smiling masks driven by forces of extreme artifice, and it’s exactly that extreme artificial quality that’s frightening to the point of sickening.
"The hype surrounding George Saunders’s Tenth of December in the early days of the calendar year was kind of staggering. The backlash followed not long afterwards, when it was suggested that someone who can’t seem to accrue enough pages to pen the Great American Novel couldn’t actually be considered the writer of our time. This makes me cringe — maybe because I’m beginning to suspect that it’s true.”