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.
If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard?
All told, she owned fourteen books, but she saw her story as being made up predominantly of ten of them. Of those ten, six were stolen, one showed up at the kitchen table, two were made for her by a hidden Jew, and one was delivered by a soft, yellow-dressed afternoon.
the association of children and fairy-stories is an accident of our domestic history. Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused.
I cannot start a story or chapter without knowing how it ends. ... Of course, it rarely ends that way.
One does not argue about The Wind in the Willows.
I think that most of us, anyway, read these stories that we know are not "true" because we're hungry for another kind of truth: the mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. Fiction, because it is not about someone who lived in the real world, always has the possibility of being about oneself. --From the Introduction
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