When Bruce Ario’s literary executor, Dan Schneider, received Ario’s papers, he realized he had enough material to reconstruct his great American novel, “Cityboy”, to its legendary mid-90s edition. The book is now available through automachination press, complete with a major critical essay by Dan Schneider on the process of restoration, examining the ways in which “Cityboy” was slowly destroyed by a vanity press, and offering fresh insights into Ario’s life and work. […]
In historical study, certain individuals and/or classes are made distinct from the passive mass by the degree of their protagonism; charting their prominence through an era, it becomes clear that such activity is as much a testament of the human will to signify one’s own existence as any well-articulated primary account. For the self, however, protagonism is simply its indigenous function, motivating one’s behavior from the get-go. Already so distinct, so distinguished, to ourselves, how could we ever be of that vague crowd whose actions are mostly homogenous, and whose culmination for some historian of the far-flung future amounts to nothing more than sheer statistical data?
About three-quarters of the way through Shirley Hazzard’s 1980 novel The Transit of Venus, a character of up-till-then secondary (tertiary, even) significance finds himself protagonized, and here is how Hazzard illustrates the beginning of his centrality—or the delusion of such […]
