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Why shouldn’t I? I demand silently. Why shouldn’t I become a famous writer? Like Norman Mailer. Or Philip Roth. And F. Scott Fitzgerald and Hemmingway and all those other men. Why can’t I be like them? I mean, what is the point of becoming a writer if no one reads what you’ve written? Damn Viktor Greene and The New School. Why do I have to keep proving myself all of the time? Why can’t I be like L’il, with everyone praising and encouraging me? Or Rainbow, with her sense of entitlement. I bet Viktor Greene never asked Rainbow why she wanted to be a writer. Or what if-I wince-Viktor Greene is right? I’m not a writer after all. ↗
May He who holds in his hands the destinies of nations, make you worthy of the favors He has bestowed, and enabled you with pure hearts and hands and sleepless vigilance, to guard and defend to the end of time, the great charge He has committed to your keeping. ↗
Woolf ’s control over the production of her own work is a significant factor in her genesis as a writer. The Hogarth Press became an important and influential publishing house in the decades that followed. It was responsible, for example, for the first major works of Freud in English, beginning in 1922, and published significant works by key modernist writers such as T. S. Eliot and Gertrude Stein. Woolf herself set the type for the Hogarth edition of Eliot’s The Waste Land (1923), which he read to them in June 1922, and which she found to have ‘great beauty & force of phrase: symmetry; & tensity. What connects it together, I’m not so sure’ (D2 178). ↗
The denominational world tries to pressure its members to focus on the birth of Christ, but in doing so layers of guilt are imposed, and competition gets complicated as one Christmas program tries to outdo the other. ↗
#christ #christmas #competition #complicated #denominational
