{"title":"What You Do Next","authors":"N. Richard","doi":"10.2307/3852688","DOIUrl":"https://doi.org/10.2307/3852688","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"459"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852688","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Presence of Pushkin","authors":"Richard Pevear, T. Binyon","doi":"10.2307/3852703","DOIUrl":"https://doi.org/10.2307/3852703","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"535"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852703","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gallery Chronicle: Sculptors and History Lessons","authors":"K. Wilkin","doi":"10.2307/3852700","DOIUrl":"https://doi.org/10.2307/3852700","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"514"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852700","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reality and Virginia Woolf","authors":"Brian Phillips","doi":"10.2307/3852679","DOIUrl":"https://doi.org/10.2307/3852679","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"415"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852679","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Make more knowledge even in less time every day. You may not always spend your time and money to go abroad and get the experience and knowledge by yourself. Reading is a good alternative to do in getting this desirable knowledge and experience. You may gain many things from experiencing directly, but of course it will spend much money. So here, by reading shoot the piano player, you can take more advantages with limited budget.
{"title":"Shoot the Piano Player","authors":"B. Cardullo","doi":"10.2307/3852701","DOIUrl":"https://doi.org/10.2307/3852701","url":null,"abstract":"Make more knowledge even in less time every day. You may not always spend your time and money to go abroad and get the experience and knowledge by yourself. Reading is a good alternative to do in getting this desirable knowledge and experience. You may gain many things from experiencing directly, but of course it will spend much money. So here, by reading shoot the piano player, you can take more advantages with limited budget.","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"521"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852701","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Truth and Consequences: The Writings of Sybille Bedford","authors":"T. Lewis","doi":"10.2307/3852698","DOIUrl":"https://doi.org/10.2307/3852698","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"496"},"PeriodicalIF":0.0,"publicationDate":"2003-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3852698","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68458252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Comment: Letter from Provence","authors":"K. Wilkin","doi":"10.2307/3853233","DOIUrl":"https://doi.org/10.2307/3853233","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"69 1","pages":"230"},"PeriodicalIF":0.0,"publicationDate":"2003-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3853233","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68468894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Davis, R. Price, Helen Dunmore, J. Saramago, M. Costa, William Gaddis, Tim O'Brien, E. Leonard, J. Burke
"HAS THE ESSENCE OF AMERICA, its very nature," Arthur Miller won? dered in the Sunday New York Times of last February 23, "changed from benign democracy to imperium?" In one of my own recent stories, "Rough God Goes Riding," written in 2000, an officer tells his troops, without a hint of irony, that "We have to help these people, because we're Americans, and they're not." Closer to our purpose here, Walker Percy, in his essay "A Novel about the End of the World," written at the height of the Cold War, asks the question that we'll pursue in this essay: "Is it too much to say that the novelist, unlike the new theologian, is one of the few remaining witnesses to the doctrine of original sin, the imminence of catastrophe in paradise?" If literary journalism more than fiction these days chronicles and memorializes experience, fiction shapes it (that is to say, compresses it) and forces us, at its most stringent, to forego ideology and recognize that the monkey wrench in the works, though sometimes a contraption planted by the alien Other or by a corrupt system, can just as well fall from the toolbox of our own conflicted selves. In Samaritan, Richard Price's sweeping new novel, Ray Mitchell, a man with newfound Holly? wood wealth, returns to the New Jersey projects where he grew up and manages not only to come close to getting himself killed but also to wreck the lives of the people he decides to help.1 Price, who launched his substantial career in his twenties with The Wanderers, a collection of stories that managed to turn urban blight and teenage angst into black comedy, made a writer's fortune in Hollywood with honorable screen? plays like Sea of Love and The Color of Money before returning to fiction with Clockers, Freedomland, and now this one. The underbelly of Ameri? can life that Price chronicles in this rough trilogy is near-naturalistic in its grimy detail but highly structured; in Samaritan, Ray, the compulsive do-gooder and soft touch ("the need in him chugging like a train") who teaches creative writing gratis at his old high school as he also tries to reconnect with his estranged daughter, gets conked into a coma early on. Detective Nerise Ammons, his childhood acquaintance who believes "heart and soul in doing unto others as they do unto me, good or bad, and I make damn sure everybody around me knows it too," takes on the case, and the narrative alternates between her and Ray. As he recovers
“美国的精髓，它的本质，”亚瑟·米勒赢了吗?在去年2月23日星期日的《纽约时报》上问道，“从温和的民主变成了专制?”在我最近写的一篇小说《粗暴的上帝骑马》(Rough God Goes Riding)中，一名军官毫不讽刺地告诉他的士兵，“我们必须帮助这些人，因为我们是美国人，而他们不是。”沃克·珀西(Walker Percy)在他写于冷战高峰时期的文章《关于世界末日的小说》(A Novel about the End of the World)中提出了一个问题，我们将在这篇文章中继续探讨这个问题:“如果说小说家与新神学家不同，是原罪教义、天堂灾难迫在眉睫的少数见证人之一，这是否太过分了?”如果说如今的文学新闻比小说更多地记录和纪念经验，那么小说塑造了经验(也就是说，压缩了经验)，并在最严格的情况下迫使我们放弃意识形态，认识到作品中的扳手，尽管有时是由外星他者或腐败体系植入的精巧装置，但也可能从我们自己矛盾的自我的工具箱中掉下来。在理查德·普莱斯(Richard Price)的新小说《撒玛利亚人》(Samaritan)中，雷·米切尔(Ray Mitchell)拥有了新发现的霍莉?木财富，回到新泽西的项目，他在那里长大，管理不仅接近让自己被杀，而且破坏了他决定帮助的人的生活普莱斯在20多岁时凭借《流浪者》(The Wanderers)开始了他的事业，这部故事集成功地将城市的颓靡和青少年的焦虑变成了黑色喜剧。他的作品有《爱之海》和《钱的颜色》，后来又回到小说领域，写了《时钟》、《自由之地》，现在又写了这部。美国的下腹?普莱斯在这部粗糙的三部曲中记录的生活在肮脏的细节上接近自然主义，但结构严密;在《撒玛利亚人》中，雷，一个强迫性的行善者和温柔的人(“他的需要像火车一样隆隆”)，在他以前的高中免费教授创意写作，同时他也试图与他疏远的女儿重新建立联系，一开始就陷入昏迷。他儿时的朋友内里丝·阿蒙斯(Nerise Ammons)侦探接手了这个案子，故事在她和雷之间交替展开，她相信“别人怎么对我，我就怎么对别人，不管是好是坏，我要确保我周围的人也知道这一点。”随着他的康复
{"title":"A Day Late And A Dollar Short","authors":"A. Davis, R. Price, Helen Dunmore, J. Saramago, M. Costa, William Gaddis, Tim O'Brien, E. Leonard, J. Burke","doi":"10.2307/3853262","DOIUrl":"https://doi.org/10.2307/3853262","url":null,"abstract":"\"HAS THE ESSENCE OF AMERICA, its very nature,\" Arthur Miller won? dered in the Sunday New York Times of last February 23, \"changed from benign democracy to imperium?\" In one of my own recent stories, \"Rough God Goes Riding,\" written in 2000, an officer tells his troops, without a hint of irony, that \"We have to help these people, because we're Americans, and they're not.\" Closer to our purpose here, Walker Percy, in his essay \"A Novel about the End of the World,\" written at the height of the Cold War, asks the question that we'll pursue in this essay: \"Is it too much to say that the novelist, unlike the new theologian, is one of the few remaining witnesses to the doctrine of original sin, the imminence of catastrophe in paradise?\" If literary journalism more than fiction these days chronicles and memorializes experience, fiction shapes it (that is to say, compresses it) and forces us, at its most stringent, to forego ideology and recognize that the monkey wrench in the works, though sometimes a contraption planted by the alien Other or by a corrupt system, can just as well fall from the toolbox of our own conflicted selves. In Samaritan, Richard Price's sweeping new novel, Ray Mitchell, a man with newfound Holly? wood wealth, returns to the New Jersey projects where he grew up and manages not only to come close to getting himself killed but also to wreck the lives of the people he decides to help.1 Price, who launched his substantial career in his twenties with The Wanderers, a collection of stories that managed to turn urban blight and teenage angst into black comedy, made a writer's fortune in Hollywood with honorable screen? plays like Sea of Love and The Color of Money before returning to fiction with Clockers, Freedomland, and now this one. The underbelly of Ameri? can life that Price chronicles in this rough trilogy is near-naturalistic in its grimy detail but highly structured; in Samaritan, Ray, the compulsive do-gooder and soft touch (\"the need in him chugging like a train\") who teaches creative writing gratis at his old high school as he also tries to reconnect with his estranged daughter, gets conked into a coma early on. Detective Nerise Ammons, his childhood acquaintance who believes \"heart and soul in doing unto others as they do unto me, good or bad, and I make damn sure everybody around me knows it too,\" takes on the case, and the narrative alternates between her and Ray. As he recovers","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"385"},"PeriodicalIF":0.0,"publicationDate":"2003-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3853262","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68469323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between the year 1997, when How the Mind Works was published, and 2002, the year of The Blank Slate, Steven Pinker’s treatment of art seems to have undergone a certain amount of refinement. In 1997, far from seeing the arts as “adaptive,” in the Darwinian sense of conducive to fitness for survival and reproduction, Pinker described music and fiction as “cheesecake” for the mind that provided a sensual thrill like the feel of fat and sugar on the taste buds. With a view such as this, there wasn’t much difference between the psychological impact of Bach’s St. Matthew Passion and pornography off the Web. Pinker made things even worse by adding, “Compared with language, vision, social reasoning, and physical know-how, music could vanish from our species and the rest of our lifestyle would be virtually unchanged. Music appears to be a pure pleasure technology, a cocktail of recreational drugs that we ingest through the ear to stimulate a mass of pleasure circuits at once.” Whether the passage of time has caused him to reconsider or whether harsh critics such as Joseph Carroll1 have had a chastening effect, by the time of The Blank Slate, Pinker remarks, “Whether art is an adaptation or a by-product or a mixture of the two, it is deeply rooted in our mental faculties.” In other words, our response to art is a component of human nature and, even if he still considers it a pleasure-technology or a status-seeking feat, Pinker now seems to see it as more deeply connected with being human. “Organisms get pleasure from things that promoted the fitness of their ancestors,” he writes, and he mentions food, sex,
{"title":"The New Darwinism in the Humanities: Part II: Back to Nature, Again","authors":"H. Fromm","doi":"10.2307/3853246","DOIUrl":"https://doi.org/10.2307/3853246","url":null,"abstract":"Between the year 1997, when How the Mind Works was published, and 2002, the year of The Blank Slate, Steven Pinker’s treatment of art seems to have undergone a certain amount of refinement. In 1997, far from seeing the arts as “adaptive,” in the Darwinian sense of conducive to fitness for survival and reproduction, Pinker described music and fiction as “cheesecake” for the mind that provided a sensual thrill like the feel of fat and sugar on the taste buds. With a view such as this, there wasn’t much difference between the psychological impact of Bach’s St. Matthew Passion and pornography off the Web. Pinker made things even worse by adding, “Compared with language, vision, social reasoning, and physical know-how, music could vanish from our species and the rest of our lifestyle would be virtually unchanged. Music appears to be a pure pleasure technology, a cocktail of recreational drugs that we ingest through the ear to stimulate a mass of pleasure circuits at once.” Whether the passage of time has caused him to reconsider or whether harsh critics such as Joseph Carroll1 have had a chastening effect, by the time of The Blank Slate, Pinker remarks, “Whether art is an adaptation or a by-product or a mixture of the two, it is deeply rooted in our mental faculties.” In other words, our response to art is a component of human nature and, even if he still considers it a pleasure-technology or a status-seeking feat, Pinker now seems to see it as more deeply connected with being human. “Organisms get pleasure from things that promoted the fitness of their ancestors,” he writes, and he mentions food, sex,","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"56 1","pages":"315"},"PeriodicalIF":0.0,"publicationDate":"2003-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3853246","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68469008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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