"Why I Live Where I Live," Esquire Vol. 101, No. 3 (March, 1984), 90.

To get new article updates from a journal on your personalized homepage, please first, or for a DeepDyve account if you don’t already have one.

"Four Bits," Ploughshares Vol. 10, Nos. 2 & 3, p. 68.

Introduction, Moments of Light, Fred Chappell. Newport Beach, California: New South Press, 1980.

"Galapagos Revisited," Signature Vol. 21, No. 8 (Aug. 1986).

In contrast to Velleman, Singer (1991, 1994, 2009) understands love tobe fundamentally a matter of bestowing value on the beloved. Tobestow value on another is to project a kind of intrinsicvalue onto him. Indeed, this fact about love is supposed todistinguish love from liking: “Love is an attitude with no clearobjective,” whereas liking is inherently teleological (1991, p.272). As such, there are no standards of correctness for bestowingsuch value, and this is how love differs from other personal attitudeslike gratitude, generosity, and condescension:“love…confers importance no matter what theobject is worth” (p. 273). Consequently, Singer thinks, love isnot an attitude that can be justified in any way.

"Making Contact," Yale Review (Summer, 1988), p. 615.

It is also questionable whether Velleman can even explain theselectivity of love in terms of the “fit” between yourexpressions and my sensitivities. For the relevant sensitivities on mypart are emotional sensitivities: the lowering of my emotionaldefenses and so becoming emotionally vulnerable to you. Thus, I becomevulnerable to the harms (or goods) that befall you and sosympathetically feel your pain (or joy). Such emotions are themselvesassessable for warrant, and now we can ask why my disappointment thatyou lost the race is warranted, but my being disappointed that a merestranger lost would not be warranted. The intuitive answer is that Ilove you but not him. However, this answer is unavailable to Velleman,because he thinks that what makes my response to your dignity that oflove rather than respect is precisely that I feel such emotions, andto appeal to my love in explaining the emotions therefore seemsviciously circular.

"Wish I Had Pie," Black Warrior Review Vol. 8, No. 2 (Spring, 1982), 75.
"How I Wrote the Moth Essay--and Why," Thomas Cooley, The Norton Reader, New York, 1986, p. 13.

Etruscans Losing Their Edge, The American Scholar, Spring, 2004.

American novelists are ashamed to find their own lives interesting; all the rooms in the house have become haunted, the available subjects have been blocked off. What remains to be written about? (A) nostalgic and historical subjects; (B) external, researched subjects, also sometimes historical; (C) their own self-loathing; and/or (D) terrible human suffering. For years, Lorrie Moore has only written about cancer. In A Heartbreaking Work of Staggering Genius, Dave Eggers implies that anyone who does not find his story compelling is unsympathetic to cancer victims; he describes in gory detail how he plans to eviscerate such people, how he plans to be eviscerated by them in turn. For writers who aren’t into cancer, there is the Holocaust, and of course the items can be recombined: cancer and the Holocaust, cancer and American nostalgia, the Holocaust and American nostalgia.

"The French and Indian War: A Memoir," American Heritage Vol. 38, No. 5 (July/August, 1987), p. 49.

how to write an essay about friendship

In later years, holding forth to an interviewer or to an audience of aging fans at a comic book convention, Sam Clay liked to declare, apropos of his and Joe Kavalier’s greatest creation, that back when he was a boy, sealed and hog-tied inside the airtight vessel known as Brooklyn New York, he had been haunted by dreams of Harry Houdini.

"Nature Writing," historical annotated bibliography, Antaeus: On Nature, 1986.

In ordinary conversations, we often say things like the following:

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