This is the third of three posts spiralling around the notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds
This is the second of three posts spiralling around the notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds in
This will be the first of three posts spiralling around notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds
Many writers suggest that a motivation for telling stories is to set things in order, to make sense of what seems senseless. Little wonder that so many novels are preoccupied with loss and absence, abandonment and grief. In Melanie Mah's The Sweetest One, Chris (Chrysler) Wong thinks maybe she's cursed.
It's the book which Moth discovers in Mr. Wentworth's study in Ami McKay's second novel, The Virgin Cure (2011): "The Witches of New York was the book I’ found most intriguing." "Listing addresses from Broome to Nineteenth Street, it claimed to be a reliable guide to the soothsayers of the
