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How Peter Schjeldahl Illuminates The Art World

“What separates Schjeldahl is the tangible sense in nearly every piece in this book — say 85 of the 100 — that something existential is at stake as he writes. The same sensation is present in Barthes and Sontag, his closest analogues to my mind, writers who, whatever their subject at a given moment, are desperately attempting to make something lucid out of this indecipherable life they’ve received without asking for it.” – The New York Times

Autofiction? What’s That?

It is perhaps this apparent contradiction, between “fiction” and “facts strictly real”, which can seem baffling. Is autofiction fiction, or non-fiction? Autobiography, or novel? There is no easy space for the genre to settle, and the area it occupies remains uncertain. It has always troubled some readers, and it requires if not a new, then a reconsidered, critical response. – Times Literary Supplement

Why, Amidst All The Musical Comedies, It’s Important Every So Often To Have A Musical Tragedy

Rachel Chavkin, director of Hadestown: “This gets now into very old Greek theater, but the idea of catharsis and working through something together and the tragedy as a crucible that the audience travels through as a community and mourns together. … I think there something is so medicinal in that purgation. That’s how the Greeks used that word, catharsis, both spiritually and physically — which of course wasn’t separate for them — as medicinal.” – Slate

Does Classical Ballet Qualify As Camp? (A Lot Of People Seem To Think So)

“Ballet might have been considered camp from the start in its original French context,” allows Madison Mainwaring. (But then, so could most things at Louis XIV’s Versailles.) “If there is a camp essence in [today’s] Romantic style of ballet, with its jeweled costumes and feathered headdresses, it is related to the worship of a style that is no longer of its time.” – The New York Times