Madeleine Thien’s Do Not Say We Have Nothing (2016): Third Variation

2017-07-24T14:32:10-05:00

This is the third of three posts spiralling around the notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds

Madeleine Thien’s Do Not Say We Have Nothing (2016): Third Variation2017-07-24T14:32:10-05:00

Madeleine Thien’s Do Not Say We Have Nothing (2016): Second Variation

2017-07-24T14:32:18-05:00

This is the second of three posts spiralling around the notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds in

Madeleine Thien’s Do Not Say We Have Nothing (2016): Second Variation2017-07-24T14:32:18-05:00

Madeleine Thien’s Do Not Say We Have Nothing (2016): First Variation

2017-07-24T14:32:26-05:00

This will be the first of three posts spiralling around notes made while reading Do Not Say We Have Nothing. Each with ten parts. Thirty segments. As though my post is the aria and the thirty segments are the variations. In recognition of the importance which Bach's Goldberg Variations holds

Madeleine Thien’s Do Not Say We Have Nothing (2016): First Variation2017-07-24T14:32:26-05:00

Dissenting Voices: Three Novels

2018-01-26T14:00:29-05:00

Knopf, 2013 Jhumpa Lahiri’s The Lowland (2013) “Naxalbari is an inspiration. It’s an impetus for change.” One brother in Jhumpa Lahiri’s novel is a member of the Naxalbari movement, Udayan. His involvement with the far-left radical Communist group in Calcutta vitally impacts the entire family, even Subhash, who

Dissenting Voices: Three Novels2018-01-26T14:00:29-05:00
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