The willed recovery of what's been lost - often forcibly, I suppose - is what keeps me going. It is this reason I found myself a poet and a collector and now a curator: to save what we didn't even know needed saving.
Kevin YoungRead
Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.
Interpretation
The quote emphasizes that themes of race play a central role in American literature, reflecting deep societal issues.
Kevin Young articulates that the American novel cannot be separated from the theme of race, as it is a central element that shapes narratives and characters. He suggests that classic works like 'Moby Dick' and 'Beloved' tackle the complexities of race, presenting them not merely as thrilling tales but as profound reflections of a society grappling with its haunting past and conscience.
In practice
In a literary analysis presentation on the themes of race in American novels.
The willed recovery of what's been lost - often forcibly, I suppose - is what keeps me going. It is this reason I found myself a poet and a collector and now a curator: to save what we didn't even know needed saving.
At our peril, we ignore the fact that black vernacular, like the blues, both has a form and performs... For just as there would be no American music without black folks, there would be very little of our American language.
There's something about the kind of time travel that a poem can provide. It can take you to somewhere else - a culture far from you, a language far from you, but suddenly you're there. You're that person, seeing with that person's eyes. I think that's really tremendous. Even things like cinema or more traditional history can't quite do that.
I've read everything Thomas Wolfe ever wrote; my brother and I memorized whole chapters of 'You Can't Go Home Again' and 'Look Homeward, Angel.'
'No Sweetness Here' is the kind of old-fashioned social realism I have always been drawn to in fiction, and it does what I think all good literature should: It entertains you.
...in other words, all I want to be is the Jane Austen of south Alabama Interview - March 1964
In the century-long history of Chinese science fiction, apocalyptic themes were mostly absent. This was especially true in the period before the 1990s, when Chinese science fiction, isolated from the influence of the West, developed on its own.
The love of literature, of language, of the mystery of the mind and heart showing themselves in the minute, strange, and unexpected combinations of letters and words, in the blackest and coldest print—the love which he had hidden as if it were illicit and dangerous, he began to display, tentatively at first, and then boldly, and then proudly.
They were close to the end of the beginning . . .
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