Authors: David Shields
| 204 | Roman Jakobson, “Linguistics and Poetics,” in The Discourse Reader , eds. Adam Jaworski and Nikolas Coupland |
| 205 | McElwee |
| 213 | Rough |
| 214 | Slater, Lying |
| 215 | John Fowles, The French Lieutenant’s Woman |
| 216 | Tad Friend, “Virtual Love,” New Yorker |
| 218 | Henry Grunwald, Salinger |
| 219 | A. O. Scott, “A Cock and Bull Story,” New York Times |
| 220 | Stephen Holden, “A Reprieve for Reality in New Crop of Films,” New York Times |
| 221 | Susan Buice, Four Eyed Monsters |
| 222 | The song “Compared to What,” written by Eugene McDaniels, was made famous via recording by Les McCann and Ed Harris at the Montreux Jazz Festival; that record sold more than a million copies. An antiwar and civil rights polemic, the song has recently been retooled by Chicago rapper Common and R & B singer Mya as a Coke commercial. |
| 223 | McElwee, Sherman’s March |
| 225 | V. S. Pritchett |
| 226 | R. P. Blackmur, The Expense of Greatness |
| 228 | Jenny Gage, interviewed by Heidi Julavits, Believer |
| 230 | Robin Hemley, “A Simple Metaphysics,” Conjunctions |
| 232 | No comment |
| 236 | McElwee, Cineaste interview |
| 242 | I was certain this was Frank Rich; I was astonished to find out it was Andrew O’Hehir, “The Long Goodbye,” Salon |
| 244 | Brian Christian, in conversation |
| 246 | Patrick Goldstein, “Lovesick Cruise et al. Is Bad Reality TV,” Los Angeles Times |
| 248 | Philip Gourevitch, quoted in Donadio |
| 251 | Grégoire Bouillier, The Mystery Guest |
| 252 | Michael Moore, 2003 Academy Award acceptance speech |
| 253 | Anonymous White House aide in first term of Bush 43’s administration, quoted in Ron Suskind, “Without a Doubt,” New York Times |
| 254 | Last three sentences: John Hodgman, “Text Message from the Road,” Stranger |
| 255–257 | Stacy Schiff, “The Interactive Truth,” New York Times |
| 258 | Lisa Page, letter to the editor, “In Fiction’s Defense,” New York Times |
| 259 | Emerson |
| 260 | Commonly attributed to Eliot; put together two statements, one by Eliot and one by Picasso, and you pretty much have it. |
| 261 | Picasso |
| 264 | Paul D. Miller, aka DJ Spooky, Rhythm Science |
| 265 | Lloyd Bradley, Bass Culture |
| 266 | Lee Perry, quoted in Bradley, This Is Reggae Music |
| 271 | Peter Mountford, “Alistair Wright,” unpublished manuscript |
| 273 | Jean-Luc Godard, in Cahiers du Cinéma, 1960–1968 , vol. 2, ed. Jim Hillier |
| 274 | Wikipedia entry on Sturtevant |
| 280 | Emerson |
| 287 | Brian Goedde, “Fake Fan,” Experience Music Project Annual Pop Music Conference |
| 288 | Lethem |
| 289 | Last sentence: Ralph Ellison, Collected Essays |
| 290 | Goethe |
| 291 | Emerson |
| 293 | Felicia R. Lee, “An Artist Releases a New Film After Paramount Blocks His First,” New York Times |
| 295 | Last sentence: Liz Robbins, “Artist Admits Using Other Photo for ‘Hope’ Poster,” New York Times |
| 297 | Charles Baxter, The Soul Thief |
| 298 | Laurence Sterne, Tristram Shandy |
| 299 | Borges, “Pierre Menard, Author of the Quixote” |
| 300 | Gibson |
| 304 | This isn’t me; it’s James Nugent. |
| 305 | Tony DiSanto, quoted in Laura Bly, “The Real Laguna Beach Disdains Its MTV Image,” USA Today |
| 306 | Donadio |
| 307 | E. L. Doctorow, quoted in Michiko Kakutani, “Do Facts and Fiction Mix?” New York Times; the parenthetical comment is mine (shocker). |
| 308 | Marshall |
| 310 | Steve Almond, Not That You Asked; last line: Peter Brooks, Realist Vision |
| 312 | James Joyce |
| 313 | Sebald |
| 314 | Donald Kuspit, “Collage: The Organizing Principle of Art in the Age of the Relativity of Art,” in Relativism in the Arts , ed. Betty Jean Craige |
| 315 | Daniel Dennett, Consciousness Explained |
| 316 | Kuspit |
| 317 | Ronald Sukenick, Out |
| 319 | Lance Olsen, 10:01 |
| 320 | M. H. Abrams and Jack Stillinger, eds., John Stuart Mill: Autobiography and Literary Essays |
| 323 | Djuna Barnes, Nightwood |
| 326 | Lorrie Moore, Self-Help |
| 329 | Thomas Sobchack and Vivian Carol Sobchack, An Introduction to Film |
| 332 | Picasso |
| 333 | Sounds to me like Julian Schnabel, but that might just be because of the broken dishes. |
| 335 | Attributed to Charlie Parker by Andrew Hill in Ben Ratliff, The Jazz Ear |
| 336 | Walter Pater, The Renaissance |
| 337 | Nicholson Baker, U and I |
| 338 | Sven Birkerts, American Energies |
| 339 | Nina Michelson, “Silence and Music,” unpublished manuscript |
| 340–341 | Simic |
| 342–343 | Michelson |
| 344 | Simic |
| 345 | Thomas Lux, “Triptych, Middle Panel Burning” |
| 346 | Deborah Eisenberg, “Resistance,” in Frank Conroy, ed., The Eleventh Draft |
| 348–349 | Michelson |
| 352 | Benjamin |
| 353 | Emerson |
| 354 | Olsen, “Notes Toward the Musicality of Creative Disjunction,” Symploke |
| 355 | Emerson |
| 356 | First sentence: Emerson; the rest: Goethe |
| 357 | Walter Murch, quoted in Michael Ondaatje and Walter Murch, The Conversations |
| 358 | Theodor Adorno |
| 359 | David Markson, Reader’s Block |
| 362 | Annie Dillard, Holy the Firm |
| 363 | Viktor Shklovsky, Theory of Prose |
| 364 | International Museum of Collage, Assemblage, and Construction ( http://collagemuseum.com/COLLAGE-signs-surfaces/index.html ) |
| 365 | Gopnik, “What Comes Naturally,” New Yorker |
| 366 | D’Agata, interviewed by Carey Smith, Collision |
| 368 | First sentence: Eliot, The Waste Land |
| 369 | Robert Dana, interviewed by Lowell Jaeger, Poets & Writers Magazine |
| 370 | Marcus |
| 372 | Ellen Bryant Voigt, “Narrative and Lyric,” Southern Review |
| 373 | Elvis Mitchell, “Fast Food, Fast Women,” New York Times |
| 374 | Svenja Soldovieri, in conversation |
| 376 | Shklovsky |
| 377 | David Mamet, “Hearing the Notes That Aren’t Played,” New York Times |
| 378 | Ezra Pound, ABC of Reading |
| 380 | Conversation between Janet Malcolm and David Salle, from her profile of him, “Forty-one False Starts,” New Yorker |
| 382 | Emerson |
| 383 | Nietzsche |
| 384 | D’Agata and Deborah Tall, “The Lyric Essay,” Seneca Review |
| 385 | Paul |
| 386 | D’Agata, in conversation |
| 388 | Lines 1 and 2: Rebecca Solnit, Eve Said to the Serpent; lines three to five, Dyer, Out of Sheer Rage; line 6: Solnit, A Field Guide to Getting Lost |
| 389 | Malcolm, “The Silent Woman,” New Yorker |
| 390 | Ozick, introduction to Best American Essays 1998 |
| 391 | Phillip Lopate, The Art of the Personal Essay |
| 392 | Orwell |
| 393 | Doty |
| 396–397 , 399 | Hampl |
| 400 | Kierkegaard |
| 402 | Montaigne |
| 403 | Keats |
| 404 | Stuart Hampshire, quoted in Lopate |
| 405 | W. H. Auden, paraphrased and altered by Edward Hoagland |
| 406 | Lopate, interviewed by John Bennion, AWP Chronicle |
| 407 | Adorno |
| 408 | Robert Hass, interviewed by Susan Maxwell, University of Iowa Writers’ Workshop newsletter |
| 409 | D’Agata, The Next American Essay |
| 410 | Lopate |
| 412 | John Berger, Keeping a Rendezvous |
| 413 | D’Agata; “or the means …”: Réda Bensmaïa, The Barthes Effect |
| 414 | Fourth sentence: David Foster Wallace, “Host,” Atlantic Monthly |
| 416 | Gore Vidal, quoted in Lopate |
| 417 | David Richards, “The Minefields in Monologues,” New York Times |
| 418 | Greene |
| 421 | Wallace, interviewed by Laura Miller, Salon |
| 422 | Michel Leiris, Manhood |
| 423 | Nietzsche |
| 424 | Montaigne |
| 426 | E. M. Forster, Aspects of the Novel |
| 427 | Didion |
| 429 | Emerson |
| 430 | Alexander Smith, Dreamthorp |
| 431 | Lopate |