Walter's situation is indicative of that which all of Franzen’s characters face: How to negotiate our better selves against the tug of monetary gain, sexual desire, and the competitive streak that so often both defines and undoes us all.
Like many of Woody Allen’s more notable films, Please Give concerns itself with a certain brand of New Yorkers who go antiquing, judge one another by their reading material, and covet their neighbor’s apartment.
I'm beginning to wonder if Ken Burns has ever sat across from someone who clears less than six figures a year. I, for one, wouldn’t mind hearing from the guy at the corner bar.
In "life" we have a subject that may be worthy of the scope of Jennifer Egan's work, but "life" isn't too far removed from "time", which may be a useful refinement as it directly leads to the book's sledgehammer of a title, A Visit from the Goon Squad.
There are moments that make me realize just how self-inflated my initial notion of engaging in "bar talk" may have been. I never would have been able to keep up.
Much of the Peanuts humor stems from the children behaving as adults, which reminds us that Charles Schulz did not write with kids in mind (he hated the publisher-chosen name “Peanuts” and thought it demeaning).
The punk coin: Suburbia the self-serious, political, amateur tale of disenfranchised youth; Rock ‘n’ Roll High School the irreverent, juvenile, cartoon-ish spin on the familiar all-authority-is-fascism motif.
Relax, PopMatters readers. All of those back issues of The New Yorker stacked by the bed, the ticket stubs tucked in a drawer that won't close properly, the movie titles written on the back of junk mail -- all of these don’t really mean anything. You’re probably all right. Probably.