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Written by Margaret Mulvihill
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My first exposure to Milan Kundera came with the reading of The Unbearable Lightness of Being. There was no going back after that, I read everything Kundera published that I could get my hands on. His books became my friends, his characters family and in some instances, heroes. I even began to study the Czech language and developed a love for Prague. Visiting Prague became a growing desire that morphed into an obsession, all because of one man, one writer, who captured my imagination.
By any contemporary standards I should be outraged at the recent accusation levelled at Kundera that he was the source who, in 1950, identified a young pilot as a western agent.
Whether he did identify this young pilot or whether he didn’t,I'm not outraged. I feel compassion both for the young pilot who was outed and imprisoned, and for Milan Kundera, the man and the writer. In our society, we are becoming increasingly accustomed to politicians demonstrating extreme human frailty and moral ambiguity, and we forgive them their transgressions on a case by case basis. Why would we hold writers, any writers, to a higher standard?
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Written by Paul Thomson
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Jay Gatsby and J. Alfred Prufrock are two modern literary protagonists who’d probably never be caught dead in the same room together. Although both turn-of-the-century men are in love with utterly unattainable women, their attitudes toward life, the universe, and everything couldn’t be more opposite. Gatsby amasses a fortune, buys a mansion, throws lavish parties, and completely reinvents himself, taking the flamboyant peacock approach to wooing his ladyfriend. Prufrock, on the other hand, reluctantly initiates a meeting, hesitates, broods, retreats, and ultimately resigns himself to a life of isolation, taking more of a unabomber approach to courtship. Yes, ladies – sometimes these are your choices.
Although Jay and J. Alfred seem to live worlds apart, chronologically speaking, they are only separated by about a decade. In fact, both characters are pioneers of a cultural period that was shortsightedly dubbed “modernism” on the off chance that nothing would ever change again. With booming cities, huge crowds, division of labor, and division of wealth suddenly becoming commonplace, people experienced an unprecedented sense of isolation, disjointedness, and anonymity in the new cultural landscape. On some level, Gatsby’s and Prufrock’s troubled romances represent a larger struggle to find their place in early twentieth-century city life, which is strongly reflected in the way they’re each narrated.
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Written by Molly Lundquist
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They’re the members who talk too much - interrupting some, taking forever to get to the point, loving the sound of their own voice. They dominate the discussions. And sometimes (gasp!) they’re the ones who keep up the social chat while you’re trying to hold a serious book discussion. Or maybe they’re negative - the ones who rarely like a book and don’t hesitate to let everyone know. Or they find it impossible to express a disagreement without levying an insult. These are known as the Difficult Members - and many clubs have one. At first everyone takes the problem with a grain of salt - maybe just a wry smile and roll of the eyes. But over time things can become … well, more difficult, tiresome, irritating. At some point, members start to drop out, not wanting to come to meetings, simply to avoid one person. That’s the tipping point - when one member becomes a threat to the wellbeing of the entire club. The Difficult Member is like the elephant in the room: no one really wants to admit the full extent of the problem - because then you have to solve it. But when members begin to leave, clearly something has to be done.
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