Blatt’s approach sounds unorthodox, because, as he so aptly notes, we are used to studying literature in a granular way. We spend days, weeks, months on the reading and analysis of one work. We draw conclusions about culture and place until we exsanguinate it, and then we place it within a broader canon. What Blatt’s numbers can do is study the aggregate, massive swaths of work that can reveal broader trends than any single book can. More data, as far as science is concerned, is always better. The more points one can make coalesce into a picture, the better the odds of that picture being accurate.
“In Life Review, Ben Murray’s solo show at Monique Meloche Gallery, Chicago, continues the artist’s reconnaissance of the maddeningly amorphous landscape of memory, here pinned to the walls in its most dramatic form. The “life review” is the classic, quasi-paranormal event wherein one’s life flashes before one’s eyes—in totality, crystal-clear—during a near death experience. A fictional trope and indelible fact to those who have experienced them, the life review is memory armed with the exigency of death, its celerity contrary to every little thing we imagine about ourselves—that we are some grand elegy in our total, that we are incapable of reduction to a series of scenes—when in fact we are, of course, nothing but scenes, none ever seen from the same perspective twice, singular in both our mind and the minds of others.”
“Even if some of the story beats sound familiar, their placement in Wuertz’s Seoul, where hair gleams “like the belly of a giant tuna” and drinks arrive “one after the other like the next turn on the disco ball” even as American GIs tear families apart and agitators are whisked away in black cars, renders them new.
The novel reveals an exciting place and time, in the catalytic sense, and all the more-so for us as visitors who are surrounded by its echoes—class, sex, race—even now.”