MINNESOTA REVIEWPub Date : 2022-11-01DOI: 10.1215/00265667-9992957
Caitie L. Young
{"title":"Trichotillomania as a Wildfire","authors":"Caitie L. Young","doi":"10.1215/00265667-9992957","DOIUrl":"https://doi.org/10.1215/00265667-9992957","url":null,"abstract":"","PeriodicalId":43805,"journal":{"name":"MINNESOTA REVIEW","volume":"28 1","pages":"29 - 30"},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75556767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
MINNESOTA REVIEWPub Date : 2022-11-01DOI: 10.1215/00265667-9993181
N. Royle
{"title":"Creative Critical","authors":"N. Royle","doi":"10.1215/00265667-9993181","DOIUrl":"https://doi.org/10.1215/00265667-9993181","url":null,"abstract":"Creative critical is not a term I have ever used. I would prefer not to. In the same breath I imagine Bartleby saying so too, for example, when he is confronted by someone asking if he would concur that the text of 1853 in which he first appears is an early example of the “creative critical.” In just such demurring direction I have argued that Herman Melville’s “Bartleby, the Scrivener” resists all such attempts at fixing and categorization and affirms instead the art of “veering” (Melville [1853] 2002: 23; Royle 2011: 163–68). Creative writing, on the other hand, is a term that makes me want to curl up and die. It has always had this effect on me. The mushrooming of creative writing courses and degree programs in colleges and universities across the world in recent decades has done nothing to diminish its toxic character for me. As Andrew Bennett and I note in a chapter on “Creative Writing” written for the 2004 edition of our textbook Introduction to Literature, Criticism, and Theory, traces of the poison could be detected in the then-current definition of the adjective creative in the OED: “Specifically of literature and art, thus also of a writer or artist: inventive, imaginative; exhibiting imagination as well as intellect, and thus differentiated from the merely critical, “academic,” journalistic, professional, mechanical, etc., in literary or artistic production. So creative writing, such writing” (OED, sense 1b; bold text in original). In firmly distinguishing the creative from “the merely critical, ‘academic,’ journalistic, professional, mechanical, etc.,” the dictionary compelled us to ask, “But how seriously can we take this distinction? Is there nothing ‘creative’ about other sorts of writing?” (Bennett and Royle 2004: 85). We were citing the 1989 edition of the OED. With its third edition in 2010, however, the editors seem to have noticed the problem. The current entry for creative runs: “Inventive, imaginative; of, relating to, displaying, using, or involving imagination or original ideas as well as routine skill or intellect, esp. in literature or art. Cf. creative writer, n., creative writing, n.” (sense 1b). This gets the OED out of its bad (the implication that critical or “academic” writing just isn’t and simply cannot be creative), although it introduces an ambiguous new implication: that literature and art can or should be conceived in","PeriodicalId":43805,"journal":{"name":"MINNESOTA REVIEW","volume":"33 1","pages":"80 - 93"},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78985402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
MINNESOTA REVIEWPub Date : 2022-11-01DOI: 10.1215/00265667-9993238
R. Ghosh
{"title":"On the Train with Mrs. Brown","authors":"R. Ghosh","doi":"10.1215/00265667-9993238","DOIUrl":"https://doi.org/10.1215/00265667-9993238","url":null,"abstract":"Virginia Woolf observes, somewhat controversially, in Mr. Bennett and Mrs. Brown that “all novels begin with an old lady in the corner” (1924: 2). For me all writing begins with an “old lady in the corner.” The train Woolf jumps into to encounter Mr. Smith and Mrs. Brown, who are held together-apart in a conversation, speaks in three voices to me: a carriage in motion as three points of view engage and negotiate, a strong and straight voice that is more interested in counting pebbles and accounting for it, and a voice whose volume and vibration are difficult to measure and easily drawn to imagination. Woolf ’s moving into the train seems to plant an observer-arbiter in the midst of a conversation between Mrs. Brown and Mr. Smith, throwing up speculations of interference and some visible modes and movements of unease between the two conversants. Mrs. Brown has something “pinched about her”—something that inspires speculation about her life, background, and emotions. If Mr. Smith makes Woolf connect with certain thoughts, Mrs. Brown awakens thoughts in her. There is “something” that existed between them, flickering up in conversation, silences, and overlaps—a “secret” that Woolf cannot fathom and that in its unfathomability keeps all the participating voices in motion. The apparent exchanges are not difficult to follow: acts, thoughts, and gestures speak with meaning and less confusion to Woolf. Mr. Smith manifests through a power over Mrs. Brown—assertive and wellgroomed in judgment and meaning. Mrs. Brown, less emphatic and business-like, can suddenly ask—“Can you tell me if an oak-tree dies when the leaves have been eaten for two years in succession by caterpillars?” (Woolf 1924: 8)—with brightness, precision, and a cultivated curiosity. If Mrs. Brown does not mean to talk like a lepidopterist and can leave this question at the level of aesthetic and philosophy, Mr. Smith settles into the subject about insects and plagues and, with critical precision, unravels a description about his brother who “kept a fruit farm in Kent” and described to her what “fruit farmers do every year in Kent, and so on, and so on” (8). When Mr. Smith is firm and fixed in what he does and speaks, Mrs. Brown, much to the surprise of Woolf, takes “out her little white handkerchief” and begins “to dab her eyes” (8). Smith speaks; Mrs. Brown cries. And yet both seem to give Woolf","PeriodicalId":43805,"journal":{"name":"MINNESOTA REVIEW","volume":"191 1","pages":"144 - 158"},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85428724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
MINNESOTA REVIEWPub Date : 2022-11-01DOI: 10.1215/00265667-9992859
S. Kanta
{"title":"To Those That Say Climate Change Is Not Real","authors":"S. Kanta","doi":"10.1215/00265667-9992859","DOIUrl":"https://doi.org/10.1215/00265667-9992859","url":null,"abstract":"","PeriodicalId":43805,"journal":{"name":"MINNESOTA REVIEW","volume":"162 1","pages":"12 - 12"},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83861488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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