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“Nobody is talking about this,” by Patricia LockwoodExBulletin

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By Patricia Lockwood, no one is talking about this

By Patricia Lockwood, no one is talking about this

The writing is Patricia Lockwood’s call, as Patricia Lockwood revealed in her sacred, profane, lyrical and sneaky 2017 memoirs. Priest daddy. As a teenager, she made a literary vow and became “a person who rarely leaves home.” Art became her messenger. She confessed: “This is the secret. When I meet myself on the page, I’m shocked at how powerful I look. On the page, I’m strong because I’m the place to put my strength.”

Now Rockwood has put that strength into her first novel, No one is talking about this, There is no doubt that she still takes her literary profession seriously. It’s another high-profile mind blower that switches between irony and honesty, sweetness and devastation.

Her unnamed narrator is a social media star who became famous for her post, “Can a dog be a twin?” I got a virus. This has led to lectures around the world, one of whom asks, “Is this a contribution to your society?”

Rockwood’s narrator acknowledges the difficulty of writing about what she calls a “portal,” but without the particular “old white whimsy is strange about the blues” in this novel. I’m trying to do just that in the first half. In the second half, when real life urgently invades in a terrible as well as surprisingly beautiful way, the portal’s retention on her evaporates. An important lesson follows.

Lockwood cleverly captures its whimsical, mind-boggling, addictive culture in “every snowstorm,” this “greatly melting place,” which lives primarily online. Her insider tour will carefully introduce “a new sense of shared humor” and “elastic and snappable verbal play.” It secretly transforms into jargon, doctrine, and doctrine. This portrait of a disturbing world without a center is a tour deforce reminiscent of the portrait of Haight-Ashbury’s drug culture in the 1960s in Joan Didion’s original essay “Dive towards Bethlehem.”

Like Didion, and like Nora Ephron, Rockwood is a master of radical and highly quarterable proclamation aimed at encapsulating without fear of movement and the entire era. Suddenly I was forced to speak about fraud. This happened on average once every 40 years, usually after folk music became popular again, “she wrote. Unfortunately, much of her humor is too filthy to quote here.

Written before the January 6th attack on the Capitol by Trump supporters, Rockwood’s observations of the dark side of social media have an eerie timeliness.She addresses many of the issues raised by New York Times Media columnist and ex Buzzfeed Editor-in-chief Ben Smith Works written after the siege“Evil can start with bad jokes and nihilistic behavior promoted by aggressive strengthening on various platforms,” ​​he said. “More attention from more people than ever before.” It reminds me of “almost attractive attraction” of “collecting”.

Rockwood’s Media Maven shows how the shared sense of sarcasm and ridicule turns itself on, and what was intended to be the source of connection and personality instead disconnects, ridicules, and even worse. I mourn if it has become an obstacle to things. She said, “Most of the time I made incredibly exaggerated jokes online and laughed at the idiots who were stupid enough to think they meant it. After a while they meant it. Except for that, and somehow in the end they were Nazis. “

Readers may be wondering where Rockwood is going with this. Some people aren’t fascinated by destructive humor. But hang there. The novel moves to another territory after the narrator receives a text from her mother about the tragic problems of her sister’s pregnancy.

In response to this awakening call, Rockwood’s narrator becomes a “necessary citizen.” She moved into the NICU world, where urgency is a reality, and said, “Why did she enter the portal in the first place? I wanted to be a pure call and response creature, so I was delighted and wanted to be. I’m happy. “

Instead, she finds something far more influential, and the result is a kind of conversion story in which honesty replaces irony. “It was amazing how cleanly and completely this lifted her out of the flow of everyday life,” Rockwood wrote. “She wanted to stop the people on the street and say,’Do you know this? You should know this. No one is talking about this!'”

Rockwood admits that her novel is based on the tragic case of her niece. The first and most famous patient to be diagnosed with Proteus syndrome in utero was Elephant Man. Not only buying the emotional epiphany of her character, but also impressing it is a testament to her skill as a rare writer who can navigate both Threes and Cheese, joking tweets, and amazing seriousness.

Of course people will He talks about this fleshy book, and the questions Rockwood raises about what humans are, what the brain is, and most importantly, what really matters. “What did we have the right to expect from this life?” Asks her narrator. “What were the terms of the contract? … can … can … can? Position about it? “

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