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	<title>Michigan Quarterly Review</title>
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	<link>http://www.michiganquarterlyreview.com</link>
	<description>Published at the University of Michigan</description>
	<lastBuildDate>Fri, 17 Feb 2012 13:00:20 +0000</lastBuildDate>
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		<title>Synthetic Happiness</title>
		<link>http://www.michiganquarterlyreview.com/2012/02/synthetic-happiness/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/02/synthetic-happiness/#comments</comments>
		<pubDate>Fri, 17 Feb 2012 13:00:20 +0000</pubDate>
		<dc:creator>Virginia Konchan</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Dan Gilbert]]></category>
		<category><![CDATA[fake bacon]]></category>
		<category><![CDATA[post-everything age]]></category>
		<category><![CDATA[Richard Rorty]]></category>
		<category><![CDATA[Schopenhauer]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4719</guid>
		<description><![CDATA[by Virgina Konchan

What is the most perfect metaphor for synthetic happiness, which Gilbert argues is virtually indistinguishable from natural happiness, both as it is felt (internalized) and shared?  Fake bacon?  3-D movies?  Any form of cultural simulacra, in the Baudrillardian sense of the term?]]></description>
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		<item>
		<title>Nothing Personal: Some Notes on Cage</title>
		<link>http://www.michiganquarterlyreview.com/2012/02/nothing-personal-some-notes-on-cage/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/02/nothing-personal-some-notes-on-cage/#comments</comments>
		<pubDate>Mon, 13 Feb 2012 22:34:56 +0000</pubDate>
		<dc:creator>Marshall Walker Lee</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[American]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[close reading]]></category>
		<category><![CDATA[Contemporary]]></category>
		<category><![CDATA[Essay]]></category>
		<category><![CDATA[john cage]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[nothing]]></category>
		<category><![CDATA[philosophy]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4749</guid>
		<description><![CDATA[by Marshall Walker Lee

When Cage began experimenting with chance operations in the 40s, he was looking for a means of stripping intention and taste from the process of creating art. In the Western world, our notion of “genius,” at least as it relates to artists and performers, is generally shaped by a psycho-historical method of decoding biography to discover the seed of ability. In the pre-modern world, it was taken for granted than an artist in full possession of his facilities, having taken care to hone his craft, could be compelled by divine will or religious mania to make a work of lasting value. After Freud and Nietzsche, we began to see our manias and urges as beginning and ending in the self. If the artist used to be Jacob wrestling with angel, now he is at best a lesser Hercules, laboring to exorcise the demons of his parentage, or at worst a nebbish with one foot in the analyst’s door.]]></description>
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		</item>
		<item>
		<title>The Poetry of Kindness</title>
		<link>http://www.michiganquarterlyreview.com/2012/02/the-poetry-of-kindness/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/02/the-poetry-of-kindness/#comments</comments>
		<pubDate>Wed, 08 Feb 2012 00:29:48 +0000</pubDate>
		<dc:creator>Ann Marie Thornburg</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Manuel Alvarez Bravo]]></category>
		<category><![CDATA[Naomi Shihab Nye]]></category>
		<category><![CDATA[poet]]></category>
		<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Poetry Reading]]></category>
		<category><![CDATA[Travel]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4693</guid>
		<description><![CDATA[by Ann Marie Thornburg

Recently, I had the pleasure of listening to and spending a little time with the writer and teacher Naomi Shihab Nye. I learned of her open-hearted work years ago, when I was first becoming interested in contemporary poetry. It stuck with me—indeed, followed me—ever since. It is the kind of work that reveals much about its creator and vessel in the most generous way. I was not at all surprised, in other words, to find in Naomi a welcoming speaker and reader, and an effervescent person whose interest in listening to others and making them feel at home in the world is abundantly evident. This way of being in the world seems like one of the most rewarding, important things. It is something we all can do if we open ourselves to it.]]></description>
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		<title>World-wide Welcome</title>
		<link>http://www.michiganquarterlyreview.com/2012/02/world-wide-welcome/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/02/world-wide-welcome/#comments</comments>
		<pubDate>Fri, 03 Feb 2012 20:22:26 +0000</pubDate>
		<dc:creator>Preeta Samarasan</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[bureaucracy]]></category>
		<category><![CDATA[chris cleave]]></category>
		<category><![CDATA[class system]]></category>
		<category><![CDATA[globalisation]]></category>
		<category><![CDATA[globalization]]></category>
		<category><![CDATA[hand me down world]]></category>
		<category><![CDATA[immigration]]></category>
		<category><![CDATA[kiran desai]]></category>
		<category><![CDATA[little bee]]></category>
		<category><![CDATA[lloyd jones]]></category>
		<category><![CDATA[the inheritance of loss]]></category>
		<category><![CDATA[the other hand]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4641</guid>
		<description><![CDATA[by Preeta Samarasan

In December, on my way back to France from Malaysia, I stopped in Paris to get a visitor’s visa at the Canadian Embassy.  Twelve years ago, I didn’t need a visa to enter Canada on a Malaysian passport, but all that changed after September 11th, because Malaysia is a Muslim country.  This I found out the hard way, landing in Toronto one afternoon en route to London from Rochester in 2003, being told that I could not leave the Immigration area because I had no transit visa.  ]]></description>
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		<item>
		<title>Activating Images: On Saskia Olde Wolbers&#8217; film Pareidolia</title>
		<link>http://www.michiganquarterlyreview.com/2012/02/activating-images-on-saskia-olde-wolbers-film-pareidolia/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/02/activating-images-on-saskia-olde-wolbers-film-pareidolia/#comments</comments>
		<pubDate>Wed, 01 Feb 2012 14:00:36 +0000</pubDate>
		<dc:creator>Nicholas Johnson</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[London]]></category>
		<category><![CDATA[Maureen Paley]]></category>
		<category><![CDATA[Saskia Olde Wolbers]]></category>
		<category><![CDATA[Video Art]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4608</guid>
		<description><![CDATA[by Nicholas Johnson

Pareidolia refers to the tendency of human perception to discover meaning in random structures where meaning does not exist. It is the perception of an image in a cloud or a pattern on the surface of the moon. It can also refer to an experience of the spiritual. London based artist Saskia Olde Wolbers' film <em>Pareidolia</em> explores this phenomena through fantastical imagery and a fable that tells of a miscommunication between a professor and a Zen master.]]></description>
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		</item>
		<item>
		<title>BORDERLINE: A USER&#8217;S MANUAL</title>
		<link>http://www.michiganquarterlyreview.com/2012/01/borderline-a-users-manual/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/01/borderline-a-users-manual/#comments</comments>
		<pubDate>Tue, 24 Jan 2012 21:10:33 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[borderline personality disorder]]></category>
		<category><![CDATA[Essay]]></category>
		<category><![CDATA[Fall 2011]]></category>
		<category><![CDATA[nonfiction]]></category>
		<category><![CDATA[relationships]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4585</guid>
		<description><![CDATA[nonfiction by Marian Crotty


Admit to yourself that straight girls don’t usually spend four hours a day masturbating themselves numb to “The L Word,” stop sleeping with men altogether, and you might just find her. When you do, it will seem like fate. She will be beautiful and smart with just enough swagger to let you think she might like women. A Ph.D. student at the school where you adjunct. Perhaps, when a friend asked what type of woman you might like, you even said her name. Maybe, years before, when you saw her for the first time, strutting across a parking lot with her long dark hair and mirrored sunglasses, you thought, “I really need this girl to love me,” and were disappointed for weeks to learn she had a fiancé. 

It will be years later, after the fiancé and successive boyfriends are out of the picture, that a throwaway line from her—a stupid line you don’t believe about women being the subject of art because their bodies are more aesthetically pleasing—will make you flirt. What you say at this point does not need to be smart, is better maybe, if it’s clumsy, gross, and nervous.
]]></description>
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		<item>
		<title>Reflection, Told by the Glass</title>
		<link>http://www.michiganquarterlyreview.com/2012/01/reflection-told-by-the-glass/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/01/reflection-told-by-the-glass/#comments</comments>
		<pubDate>Mon, 23 Jan 2012 13:00:46 +0000</pubDate>
		<dc:creator>Gina Balibrera</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[entertainment]]></category>
		<category><![CDATA[inventions]]></category>
		<category><![CDATA[seeing]]></category>
		<category><![CDATA[stereoscope]]></category>
		<category><![CDATA[technology]]></category>
		<category><![CDATA[Victorian]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4547</guid>
		<description><![CDATA[By Gina Balibrera

Just before leaving town for the holidays I paid a visit to Ann Arbor’s subterranean Aardvark antique shop and came upon several boxes of Stereoscopic gold, at a price even the most frugal of treasure-hoarders can celebrate. I stood beholden to the stacks of rectangular cardstock bearing double images--of a gloomy pair of circus lions, or of two doe-eyed Victorian housewives swooning upon identical hand-colored velvet chaises, or of a bank in San Francisco, the twin photographs taken sometime before the 1906 earthquake that broke Market Street in two. A Stereoscope, for the unknowing, is a trick of the mind. The double imaged cards were once created with the intention of being held by elegant machinery. Lenses would cover the eyes, crossing them, to reveal a single image in three stunning dimensions. ]]></description>
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		</item>
		<item>
		<title>The Tallest Girl in the Book</title>
		<link>http://www.michiganquarterlyreview.com/2012/01/the-tallest-girl-in-the-book/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/01/the-tallest-girl-in-the-book/#comments</comments>
		<pubDate>Tue, 17 Jan 2012 19:59:56 +0000</pubDate>
		<dc:creator>Monique Daviau</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Daily Alice Drinkwater]]></category>
		<category><![CDATA[Fiction]]></category>
		<category><![CDATA[heroines]]></category>
		<category><![CDATA[John Crowley]]></category>
		<category><![CDATA[Little Big]]></category>
		<category><![CDATA[romance]]></category>
		<category><![CDATA[tall]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4535</guid>
		<description><![CDATA[by Monique Daviau

Among the many barbs that Humbert Humbert lobs at Lolita’s poor, doomed mother, Charlotte Haze, is that she is “large.” Sure, his gaze upon this woman, who has unfortunately reached the same decrepit age that I am now, is never kind. To him, she is dull-witted, her French is horrendous, she is simple and slovenly. But above all, she is that most unfeminine of qualities: the opposite of small. Humbert is not alone in prizing a woman for being of diminutive stature, although Humbert is a terrible example, since we all know what his deal is, one need not venture far from Nabokov’s masterpiece to find male narrators who wax rhapsodic over women with tiny hands, delicate feet, and small bodies that fit into to crooks of their arms. If you, like me, are a woman of formidable mien (I topped out around six feet tall at the age of twelve), chances are that you long ago abandoned hope that the day would come when you would find a man glowing upon the page about his romantic interest, a heroine who can fit into your clothes.]]></description>
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		<item>
		<title>Samuel L. Jackson and The Power of a Voice</title>
		<link>http://www.michiganquarterlyreview.com/2012/01/samuel-l-jackson-and-the-power-of-a-voice/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/01/samuel-l-jackson-and-the-power-of-a-voice/#comments</comments>
		<pubDate>Wed, 11 Jan 2012 13:00:13 +0000</pubDate>
		<dc:creator>A.L. Major</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[First-Person]]></category>
		<category><![CDATA[Samuel L. Jackson]]></category>
		<category><![CDATA[Writer's Voice]]></category>
		<category><![CDATA[Writing]]></category>
		<category><![CDATA[Writing Life]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4462</guid>
		<description><![CDATA[by A.L. Major

Samuel L. Jackson is the highest grossing actor of all time. I know, I was surprised too. According to the Guinness Book of World Records he has appeared in more than 100 films, that have in total grossed over 7.42 billion. So, I started an investigation —no this was not a form of procrastination to distract myself from writing, I swear. Over the course of two weeks, I watched and re-watched as many films starring Sam L. as I could, in the hopes of understanding what makes his films such a success. Most compelling of his performances, the thread that united his roles, was his voice. Perhaps his success lies, not in what he says, but how he says it. ]]></description>
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		</item>
		<item>
		<title>The Labor of Poetry</title>
		<link>http://www.michiganquarterlyreview.com/2012/01/the-labor-of-poetry/</link>
		<comments>http://www.michiganquarterlyreview.com/2012/01/the-labor-of-poetry/#comments</comments>
		<pubDate>Mon, 09 Jan 2012 13:00:48 +0000</pubDate>
		<dc:creator>Ann Marie Thornburg</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Andrei Tarkovsky]]></category>
		<category><![CDATA[emotion]]></category>
		<category><![CDATA[Essay]]></category>
		<category><![CDATA[John Berger]]></category>
		<category><![CDATA[language]]></category>
		<category><![CDATA[meaning]]></category>
		<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Robert Hayden]]></category>
		<category><![CDATA[space]]></category>
		<category><![CDATA[The Hour of Poetry]]></category>
		<category><![CDATA[Those Winter Sundays]]></category>
		<category><![CDATA[time]]></category>

		<guid isPermaLink="false">http://www.michiganquarterlyreview.com/?p=4508</guid>
		<description><![CDATA[by Ann Marie Thornburg

A few days before we walked through the door marked “2012,” my partner and I read an essay together that is, I think, one of the best about poetry I’ve ever read, and one that has pricked my consciousness in a profound way. The essay, written by John Berger (who is many things: a painter, a novelist, a critic of art and an essayist), is called The Hour of Poetry. It is a generous reminder of poetry’s power and, as such, a subtler call to action—with the tools of empathetic heart, meaningful intention, and purposeful language.]]></description>
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