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The Tallest Girl in the Book

by Monique Daviau

Among the many barbs that Humbert Humbert lobs at Lolita’s poor, doomed mother, Charlotte Haze, is that she is “large.” Sure, his gaze upon this woman, who has unfortunately reached the same decrepit age that I am now, is never kind. To him, she is dull-witted, her French is horrendous, she is simple and slovenly. But above all, she is that most unfeminine of qualities: the opposite of small. Humbert is not alone in prizing a woman for being of diminutive stature, although Humbert is a terrible example, since we all know what his deal is, one need not venture far from Nabokov’s masterpiece to find male narrators who wax rhapsodic over women with tiny hands, delicate feet, and small bodies that fit into to crooks of their arms. If you, like me, are a woman of formidable mien (I topped out around six feet tall at the age of twelve), chances are that you long ago abandoned hope that the day would come when you would find a man glowing upon the page about his romantic interest, a heroine who can fit into your clothes.

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Samuel L. Jackson and The Power of a Voice

by A.L. Major

Samuel L. Jackson is the highest grossing actor of all time. I know, I was surprised too. According to the Guinness Book of World Records he has appeared in more than 100 films, that have in total grossed over 7.42 billion. So, I started an investigation —no this was not a form of procrastination to distract myself from writing, I swear. Over the course of two weeks, I watched and re-watched as many films starring Sam L. as I could, in the hopes of understanding what makes his films such a success. Most compelling of his performances, the thread that united his roles, was his voice. Perhaps his success lies, not in what he says, but how he says it.

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Of Sentient Donkeys, Supple Ironies and Artful Digressions: An Interview with James Morrison

“Mainly, I wanted to avoid talking down to an audience of new readers. My teaching experience had convinced me that as long as the writing was concrete, as long as sentences were sharply honed, as long as ideas were connected clearly, as long as the pacing had some momentum–in other words, as long as the writing adhered to certain well-known standards for good writing across the board–new readers could respond to it.”

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Asparagus for Frank O’Hara

by Monique Daviau

Last summer, I convinced my friend Chris that he and I should drive from Brooklyn to East Hampton, Long Island, to place a bundle of asparagus on the grave of a poet he had never heard of. I hoped to be very convincing when explaining that Frank O’Hara was my favorite poet, meant the world to me, and that I needed to make the pilgrimage. Fortunately, Chris is always open to using his Zipcar membership to drive down to the tippy-tip of Long Island for a day of cemetery-going, and on the day we’d planned to take the trip, the sun was shining and it was almost as if the city were throwing us out. Go see Frank! As a bonus: perfect beach weather!

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What To Do With A National Book Award?

by A.L. Major

In November, I watched the National Book Awards ceremony via an online broadcast. A U of Michigan alum of 05′, Jesmyn Ward, was nominated for her novel Salvage The Bones , and if she won, I wanted to witness it. Of course, my impulse to watch the awards was a self-involved, highly illogical one: that if I am a U of Michigan MFA Fiction student and she is an alum of this same program, then I might be able to produce a work of similar notability and talent. When she won, I was surprisingly elated. As if I had won too. I bought her books, the hour after, not yet critical of why it hadn’t occurred to me to buy them before. Later, I realized I’ve become a complacent reader.

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