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I don't care about the bare fact that anyone liked or didn't like a book or movie; they can only interest me in that bare fact by writing an intelligent review.
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The first thing I remember feeling about the 2016 U.S. election was a kind of speechlessness.
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When a woman shouts, she isn't usually praised for it. She's condemned as aggressive and coarse.
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I like debate and argument, so I'm usually all right with disagreement, and I'm even all right if the critic doesn't come to a clear thumbs up or thumbs down. But I need the disagreement to have some kind of line I can follow on the map. I like following an interesting mind along it.
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The forward march of American literature is usually chronicled by way of its male novelists. There is little sense, in that version of the story, that women writers of those eras were doing much worth remembering.
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When James Frey's 'A Million Little Pieces' turned out to be largely bunk, critics everywhere secretly rejoiced. They knew it, they said.
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I tend to judge a piece of criticism by how smart I find the argument. This, I know,, is not how everyone does it.
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Bad criticism recites rote arguments. The shame of rote arguments isn't just that they're cliches, though they are, but that they tend to hide from us why a critic is actually thinking what they're thinking.