Selena Liu

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on the atlas — 17

highlights — 6

“I didn’t write any good fiction until I met my partner,” she told me.
Sally Rooney Gets in Your Head | The New Yorker
brands can capitalise on political messages to build relationships with their audiences, but the reverse is also true: they can similarly capitalise on their already existing relationships with audiences to get political messages across.
SCHRÖDINGER’S JEANS | Vestoj
the personal was not conveyed through action; not “the simple words ‘I was born’” and a description of the events that followed. Rather, it was through style,
The Illusion of the First Person | Merve Emre | The New York Review of Books
the personal was not conveyed through action; not “the simple words ‘I was born’” and a description of the events that followed. Rather, it was through style,
The Illusion of the First Person | Merve Emre | The New York Review of Books
I think if I’d initially run into Didion via her famous early works, if some creative nonfiction class had tasked me with reading the deliberately mannered and self-consciously New-Journalistic essays of Slouching Toward Bethlehem and The White Album—“all that princess-in-the-consulate bullshit,” a friend of mine, less of a fan than I am, once called it—then I would have been turned off and might never have returned. I would have found it precious and high-handed, and I would have found its best-known bits of self-reflective revelation, the “here on this island in the middle of the Pacific in …
Joan Didion Cast Off the Fictions of American Politics | The New Republic
the ‘palimpsest sensation’. She has felt something like it once before, in the supermarket queue, a sense that all the women in line are her past and future selves, ‘images of herself, taken apart and separated like matryoshka dolls’.
Joanna Biggs · The Palimpsest Sensation: Annie Ernaux’s Gaze · LRB 21 October 2021