lisseli.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
california, from "Station," unpublished work (c) 2004 Lisa Page Weil. All rights reserved.
Unpublished work from manuscript (c) 2003, Lisa Page Weil, original text.
Revised and included as a section of "Station," unpublished work (c) 2004
Lisa Page Weil.
All rights reserved.
Yeah, you can write in going to California and athletics and division cuts and not write a novel about it. Then you could write in Ray and talk about his criticism and the New Age; someone not conventional, and not in the same field at any time, but a part of the arguments about books in school. Music school and your departure into literary criticism; which got you through Mr. Taber's class and their novels.
He taught literary criticism and Taber publishes volumes and volumes of literary criticism.
You got an article of literary criticism in. You had a submission in scholarship instead of art, a philosophy postulate on subjectivism from rationalism, contributions to scholarship on the lyric Romantics, some copyrights in fiction and poetry, a voice recital and some songs.
After college, Ray went to journalism school in writing. He was a writer out of college for a living. He went into publishing for a short time, and he's still a writer.
In contrast, you went to law school, had three years of writing after college, and wrote for graduate school in literature and in German, for law.
Ray probably got assigned the class because he had a background in it from California, and because he was an artist, instead, so he could talk about what that means to students, who are also influenced by art.
Maybe the other professors didn't want the class, so he got it. Yeah, and the government is a critic, instead; like Taber, who is easygoing instead of upfront about the significance of criticism, being in government. The opposite of a California artist like Ray, who thought there were few critics, but many approaches to criticism and to critical writing, so you know what your options are afterwards if you canvas what is published and influential. You can write a number of types of criticism and get read; you can separate the schools of thought instead of confusing their elements; or combine elements; you know what is influential and published and talked about in academics.
Yeah, so you didn't have to have an artist's opinion of criticism because of Taber and his voluminous departures into world literature, all of which were influential and published. You would write about literature; maybe world literature has ideas that are too big for a scholar out of graduate school. No, but it's scholarship. It depends on the thesis or exposition; what it's about and what purpose it serves. Ray wrote his own criticism and got it published, too.
In their language, it's not always influential; it's opinionated. In schools, it has more scope: it makes students think about what they're reading according to what someone has thought of it. Yeah, it's like writing letters to the editor in essays and opinions; everyone argues their side of it.
In other words, if you can write scholarship, you can write novels; it doesn't preclude that possibility.
to contact by e-mail: