Tuesday, December 28, 2021
Sure You Can.
Also by Parul Sehgal . . .
"I first met Gaitskill on an August afternoon at her apartment
in Williamsburg, Brooklyn. She is beautiful, startlingly so —
straight-backed and contained, her body a wick of tensile energy,
her hair a silvery blond. She offered me sparkling water and
hunted down a lime — ‘'I can’t serve it to you naked,' she said . . . ."
— https://www.nytimes.com/2015/11/08/magazine/
mary-gaitskill-and-the-life-unseen.html
As for "the life unseen" . . .
https://www.onlineclarity.co.uk/reading/hexagrams/59-dispersing/
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Annals of Plot Mechanism: Braided Revelations
"We all know the song . . ."
— Neil Diamond, "Love on the Rocks"
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From "The Case Against the Trauma Plot" by Parul Sehgal, "With the trauma plot, the logic goes: Evoke the wound and we will believe that a body, a person, has borne it. Such belief can be difficult to sustain. The invocation of trauma promises access to some well-guarded bloody chamber; increasingly, though, we feel as if we have entered a rather generic motel room, with all the signs of heavy turnover. The second-season revelation of Ted Lasso’s childhood trauma only reduces him; his peculiar, almost sinister buoyancy is revealed to be merely a coping mechanism. He opens up about his past to his therapist just as another character does to her mother—their scenes are intercut—and it happens that both of their traumatic incidents occurred on the same day. The braided revelations make familiar points about fathers (fallible), secrecy (bad), and banked resentments (also bad), but mostly expose the creakiness of a plot mechanism." |
In context —
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