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This is not an essay. Although it may be in a way, it is. Because it's a strange thing to eat on essays - even talk about them to talk to what they want to do types of writing memoirs, feature, commentary, review - and supposes any claim with a qualification, a doubt, a doubt, an alternative possibility .
That could be an essay.
It is this problem, the desire of a strict, unexpected definition of the essay, whereby he knew where he keeps, and where other forms begin, which may have made the essay one of the most understood forms of literature, a "second-class citizen" . In the world of letters, after one of his most famous practitioners, EB knows. And up to many that you write are essays some of the strictest companies in the literature - both intellectually taxable as well as more obllative than fiction, as you lack the soft membrane of fictional art to buffer the effects of the writer's thoughts on the reader..
Slowly, before postmodernism poses the reader's attention to the nude polymies of literature, there was the essay that naked, the curtain between the writer and the reader has already been withdrawn. The writer in a kind of intellectual flagrant delicto, struggles, testing for the reader comes from the thrill and the energy of the essay from this intimate exposure, the art of a writer, which is intensively in dialogue with him or herself, the " Dialectics of self-questions "when Essayist calls Phillip Lopat. If. Hardison Jr. sees this self-realization, which continues to extend, to an almost metaphysical level: "The essay is the creation of the process by which the soul is forwarded by day by day and from the moment to the time."
That excludes this attempt is the vital center of the essay. And so it was shaped in the 16th century of Michel de Montaigne, whose own prose works on things seemed philosophical, literary, literary and morally apparently seemed to be no place among the prescribed forms or categories of writing due to their unique, drive sorborials Pose found. He called his effort Essai . (The modern translation of the French just corresponds to "attempt". Can be retrofitted with the term.If Montaigne did not struggle, invent the form, he certainly gave him his tincture and performed some of his broad parameters to set the stage for the later identifiable information he is concerned. He refused systemic thinking and violent, relevant rhetoric. He showed the readers the collided intersections of his own thoughts. He did not start conclusions, and often he never found her. Therefore, it is so ironically that for many readers the introduction to the form with a high school homework starts to write a five-paragraph essay with its default introduction, three body sections and conclusion. Robert Atwan, founding editor of the annual best American essays (Houghton Mifflin) indicates that this is a perverted inversion of the form. In his foreword of the 1998 issue of the series, which began in 1986, he writes, he writes, "it did not just reveal relentlessly on his conclusion; It started with his conclusion. His structure did not allow direction change, no review, no wrestling with ideas."
A real essay, says Atwan, never begins with his end.
What occasions of the essay? If a writer has no surreefire argument to bring the reader to the reader, why, why personal fluctuations in pressure fade? Why not leave the questions and doubts about the rough draft instead of giving them life?
For Richard Rodriguez, the attraction is the public ideas of the essay. "I've always thought of the essay to respond to public life," he says."The drama of the essay is for me as the public life cuts with my personal and private life. It is in this intersection that I find the energy of the essay."