Every few years or so I try to read some stories by Carver or Auster or Tom Wolfe or John Gardner so that, upon closing the paperback, I may fling it from the outdoor porch of my home, where I read in good weather, and watch it sail across the lawn where I take pleasure in knowing that it will have there flopped and would remain through several rainshowers. Those boys represent Crusade's legions of writers who stick their faith to the notion that criticism before or after the
danse of inheritance-shucking (that which follows the criticism that is called post-modern) has something to say. In THE GARDEN OF EDEN I revel in the epistemology of haircuts and the grace of driving a Bugatti in Provence, and the way a woman demonstrates
souplesse riding a bicycle. Of a fashion for which one might have not dared hope, a certain haircut is described as
like a Bugatti.
Every few years or so I try to read some stories by Carver or Auster or Tom Wolfe or John Gardner so that, upon closing the paperback, I may fling it from the outdoor porch of my home, where I read in good weather, and watch it sail across the lawn where I take pleasure in knowing that it will have there flopped and would remain through several rainshowers. Those boys represent Crusade's legions of writers who stick their faith to the notion that criticism before or after the danse of inheritance-shucking (that which follows the criticism that is called post-modern) has something to say. In THE GARDEN OF EDEN I revel in the epistemology of haircuts and the grace of driving a Bugatti in Provence, and the way a woman demonstrates souplesse riding a bicycle. Of a fashion for which one might have not dared hope, a certain haircut is described as like a Bugatti.
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