1,340 research outputs found
Interview, in question-and-answer format, with Rick Moody, author of the memoir
No full textInterview, in question-and-answer format, with Rick Moody, author of the memoir The Black Veil. Moody and his father spent five days traveling the Maine coast to do research for the book. Moody spoke recently at the Maine Historical Society
2016-2017: Distinguished Visiting Author, Rick Moody
No full textStudent Fellows: Nicole Andreson, Alexis den Boggende, Hannah Little, Adrienne Woosterhttps://docs.rwu.edu/bermont-fellowship/1001/thumbnail.jp
2016-2017: Distinguished Visiting Author, Rick Moody
No full textStudent Fellows: Nicole Andreson, Alexis den Boggende, Hannah Little, Adrienne Woosterhttps://docs.rwu.edu/bermont-fellowship/1001/thumbnail.jp
The Black Veil de Rick Moody, roman ventriloque
No full textInternational audienceThe Black Veil redefines the autobiographical paradigm as its author, Rick Moody, turns the narrative of the self into an autofiction relying on a hoax that is only revealed to the reader at the end of the novel. The link between the Moody family and Joseph Moody, a Puritan reverend who inspired Nathaniel Hawthorne for his short story “The Minister’s Black Veil”, turns out to be totally unfounded. This article considers the systematic failure of the autobiographical impulse as the keystone of this text which privileges dissimulation over confession. As the “I” is swept through by multiple voices, a networked first person emerges and transforms the quest for individual identity into a quest for a national identity. Speaking in veiled terms, Rick Moody includes himself in a plural first person and reevaluates the narrative of the self as being necessary that a larger community.The Black Veil est un texte dont l’ambiguïté générique nous invite à repenser le paradigme autobiographique car en lieu et place d’un récit de soi, Rick Moody livre une autofiction reposant sur une imposture qui n’est révélée au lecteur qu’au terme du roman. La parenté entre la famille Moody et le révérend Joseph Moody, pasteur puritain qui aurait inspiré à Nathaniel Hawthorne son personnage du pasteur au voile noir, s’avère totalement infondée. Cet article envisage la mise en échec systématique de l’élan autobiographique comme principe central présidant à l’écriture d’un texte qui privilégie la dissimulation à la confession. Parcouru par de multiples voix, ce récit est celui d’un « je » associatif, qui se déploie en réseau et substitue à la quête identitaire individuelle une quête d’identité nationale. Ne se dévoilant qu’à mots couverts, Moody s’inclut dans une première personne plurielle et redéfinit le récit de soi comme étant nécessairement le récit d’une communauté
“The Complaint”
No full textMoody Rick. “The Complaint”. In: Cahiers Charles V, n°29, décembre 2000. États-Unis : formes récentes de l’imagination littéraire (Travaux de l’Observatoire de Littérature Américaine -ODELA) pp. 167-169
Interview of author Rick Riordan
No full textRick Riordan, author of the "Tres Navarre" series of detective novels, talks about his teaching and writing careers, his life in San Antonio, and the need to write authentically about real places, people, language, culture, and history. He discusses his characters and the situations in which he places them, his own limits in writing about social injustice from which he has not suffered, but being familiar with life in San Antonio and the multicultural environment in the community. Riordan is also known for writing the "Percy Jackson & the Olympians" series. Riordan is interviewed by Diana Rivera at the 2005 Left Coast Crime Conference held in El Paso, Texas
Twilight : Protographs by Gregory Crewdson
No full text" Created as elaborately staged tableaux, this series of images suggests the bizarre yet beautiful surrealities behind deceptively familiar suburban facades. Scheduled to accompany three simultaneous gallery exhibitions in Spring 2002 and a subsequent retrospective at Mass MoCA, this book chronicles the completion of the Twilight series, which Crewdson began in 1998. Including both production stills and the 40 finished images, all in full color, it also features an essay by Rick Moody, a novelist equally renowned for exposing the underbelly of small-town, middle-class America. " -- Publisher's website
Interview with Rick Bastasch
No full textRick Bastasch was interviewed by Michael Rupp and Jim Knight on May 10, 2017.
A lifelong Oregonian, Rick Bastasch is the author of The Oregon Water Handbook (Oregon State University Press, 2006). He worked with the Oregon Water Resources Department for over a decade, specializing in river basin planning, intergovernmental coordination, public information, and legislative analysis. He has also led recent efforts to conserve and restore the Willamette River.https://pdxscholar.library.pdx.edu/planoregon_interviews/1039/thumbnail.jp
L’écriture de l’accident dans la fiction de Rick Moody
No full textThe books of Rick Moody evade all possibility for a generic categorization. They standat the crossroads of different styles which collide with one another and give birth to aheterogeneous prose. However, at the heart of Moody’s protean fiction is to be found arecurring motif: the accident. The repetition of this pattern and the paradox it arises arewhat started this dissertation. How can such a motif be repeated and transformed into anunvarying organization principle since, at its core, the accident is supposed to happen ina flash, only once? The answer to this question lies in a change of perspective. Thedefinition of the accident needs to be challenged so that it allows for the possibility toconsider it not only as what happens accidentally but what is bound to happen bynecessity. It all amounts to suggesting that the accident is ontological; it is alwaysalready present, on the verge of happening. This temporal shift makes it necessary, in aliterary perspective, to analyze the temporality of the accident. The sudden appearanceof the accident raises questions about the strategies fiction has at its disposal torepresent reality. The repetition of the accident induces also a reflection on its duration.The break-up it necessarily generates reveals its dual temporality: it either comes as anending or as a possibility for a new beginning. The accident creates different shapes,forms and cycles as it comes up, destroys and regenerates.L’œuvre de Rick Moody échappe à toute tentative de catégorisation générique, elle est àla croisée de styles qui s’entrechoquent et se heurtent pour donner naissance à une prosehétéroclite. Cette fiction protéiforme n’en demeure pas moins traversée par la répétitiond’un motif invariant : l’accident. C’est le paradoxe de cette observation qui constitue lepoint de départ de cette thèse. Comment l’accident, dont le surgissement paraît toujoursfulgurant, instantané et unique, peut-il se voir répété, décliné et transformé en unprincipe structurant qui préside à la composition de l’œuvre de Rick Moody ? Pourrépondre à cette question, il faut nécessairement changer le présupposé sur lequel reposela définition de l’accident pour qu’il ne soit plus seulement envisagé comme ce quiarrive de manière accidentelle mais pour que soit révélée également sa dimensionessentielle. Cela revient à proposer l’hypothèse que l’accident est toujours déjà là, qu’ilest ontologique. Ce changement de perspective, rendu possible par une manipulationtemporelle, encourage, sur le plan de l’analyse littéraire, une étude de la temporalité del’accident. Son surgissement induit plus largement la question de la représentation de laréalité tandis que sa répétition autorise son inscription dans une durée. Provoquanttoujours une rupture, la temporalité de l’accident est double car elle a la possibilité à lafois de mettre un terme et de faire éclore un nouveau début. L’accident crée des formeset des cycles, il surgit, dure, détruit, mais aussi régénère
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