Eh, for now, let’s just look at the next bit. Which is Atobe’s arc! And Atobe is /always/ fun to write, especially when he gets into it with Sanada.
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A booklist which includes Tropic of Cancer and Little Women:
And some of those are Very Long Important Novels but some of them are quite short, and not even short in the sense of 'compressed and elliptical and dense'.
And some of them are challenging reads on account of subject matter but others, really, not so much I would have thought.
And, generically, quite a mishmash.
But a list that includes Clarissa and Coraline?
Okay, some of those books look like set texts that people had to struggle through and then found worth the journey, but others, presumably, are not the kind of books that feature in lit courses.
And some are even in the category I would have considered rattling airport reads...
Oh dear, another blooper from David Mitchell in this week's Observer New Review.
Or, at least, a classic case of writing about something before reading it properly.
The first was that Cambridge University lecture timetables are being labelled with “trigger warnings” about the plots of various literary works, including The Bacchae and Titus Andronicus. So English literature undergraduates are being protected from the knowledge of, among other things, what one of Shakespeare’s plays is about, in case it upsets them.That is so not what the furore about this that I saw across my bits of social media was: what I saw was the push-back against the elitist assumption that eny fule already no that Titus Andronicus contains murder, rape, mutilation, and involuntary cannibalism (not to mention massive amount of racism).
And trigger-warnings aren't about protecting people from the knowledge that works of art contain disturbing material: they're precisely about letting people who haven't yet encountered them know that they contain material some people may find upsetting. Like the warnings you see at the beginning of a movie, just so you know what you're letting yourself in for.
And I'm really not sure that one can assume general cultural familiarity with one of the less-produced of Shakespeare's plays (the one that suggests that, had he been writing in the 1960s, he'd have been working for Hammer Horror - while some of the early comedies suggest also possibly moonlighting for the Carry On films, but I digress). Okay, there has been a movie version of the play itself, and Theatre of Blood alludes to it in one of the vengeances taken against the critics of the protag. But I doubt it's all that well-known to the individual on the Clapham omnibus.
Okay, this guy is clearly in a state of confusion: I’m in a kind of love triangle and am so confused about what to do.
It has got to a point now that I have told my girlfriend that we need to have a break so I can sort myself out. She has moved out and I do miss her a lot.... The space away from my girlfriend, I hope, would make me realise that she is the one for me and come back to her in a happier place where I feel I can be happy and give 100%.
Whereas she is probably busily blocking his number and any contact they have on social media and telling her friends not to pass any details on.
I mean, I think Annalisa Barbieri is right that probably neither of these women is The One and he is just trying to make one of them The One because he wants to Settle Down, but I do wonder if at least the girlfriend, if not the ex, is going to wait around for him to get his head together, and it's not so much a question of he should break up with both of them, but that he is likely to find himself broken up with.
Let him go, let him tarry: