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By Jonathan Lethem

The fort of Solitude is the tale of Dylan Ebdus starting to be up white and motherless in downtown Brooklyn within the Seventies. It's an area the place the entertainments contain muggings besides video games of stoopball. In that international, Dylan has one buddy, a black youngster, additionally motherless, named Mingus impolite. As Lethem follows the knitting and unraveling in their friendship, he creates an overwhelmingly wealthy and emotionally gripping canvas of race and sophistication, superheros, gentrification, funk, hip-hop, graffiti tagging, loyalty, and reminiscence. The citadel of Solitude is the 1st nice city coming of age novel to seem in years.

BONUS fabric: This variation contains an excerpt from Jonathan Lethem's Dissident Gardens.

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Indb 29 12/12/13 10:11:02 AM 30 kafka as well as some of the later stories. The remainderless absorption into literature would thus throw off the outer shell of a false self, but insofar as literature remains in the realm of the visible, of mere appearance and image, it will continually cast up its stripped away leavings as essential to the movement of its own construction: in writing, the outward image is of the essence, or in other terms, the outward visible shell is the kernel of the literary thing.

This “being-a-writer” or “writer-being” (Schriftstellersein), of which so much has been made, serves here as the cipher for Kafka’s self-conscious striving for a certain literary transcendence—but it will also be a signpost on the way to the failure of these strivings, about which Kafka had a perfectly sober awareness, expressed very clearly in later writings. indb 18 12/12/13 10:11:02 AM kafka’s teeth: the literary gewissensbiss 19 that quickly followed, and then, further and “downward,” into a mode of writing at pains to burrow into its own earthbound conditions, closely tied to the conditions of a speaking voice.

And they certainly are compelling. At the very least they convey the fact that, to put it very simply, something tremendous is at stake in the writer’s vocation—indeed, nothing less than everything. Such is the tenor and scale of their hyperbolic rhetoric, here as elsewhere. But I am not sure that these dramatic proclamations are the most fruitful place to look for a substantive rendering of the imperative to write driving and structuring Kafka’s work. More relevant to my purposes is a much broader structural-figural accretion that is to be read in the relationship between such proclamations and their larger context, both in the texts where they appear, and in Kafka’s project as a whole: a project that involves an explicit effort at self-fashioning and transformation into a writer, a strange being that maintains a vexed and impossible relationship with the empirical existence of the author.

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