Nick Bottom’s Blessing
by Jascha Kessler
March 26th, 2007
The relativism that relishes diversity for diversity’s sake is one that eschews æsthetic judgment or choice. Both however are necessary.
The relativism that relishes diversity for diversity’s sake is one that eschews æsthetic judgment or choice. Both however are necessary.
Paul Auster is a writer, who like Beckett is obsessed with identity and the way it is constructed out of and through the medium of stories, words, or even the thinnest of airs.
Other writers such as Geoff Dyer and Alain de Botton have also established themselves as exponents of a similar type of hybrid writing style. Yet they are more obviously producing non-fiction and neither has written anything to rival Austerlitz, the best of Sebald’s work.
I knew it occurred every Autumn. And every Autumn I intended to go. And after many trials and as many errors, I finally made it one August. It was the festival of the earth.
The novel as a perpetually-remade form of high style and sophistication is, in our commerce, scarcely recognized, let alone understood.
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