But the more I thought about this movie, the more I realized it simply gives an illusion of depth. A movie filmed with somewhat unconventional techniques, or featuring naturalistic dialogue and little plot, is automatically assumed to be “artsy” and thus philosophical, by association with the style of the French New Wave.
Princeton students are special. We’ve been told this upon every rite of passage we have experienced. No one ever dares to contest that they have near-superhuman aptitudes for creativity and hard work, Renaissance men and women all, steeped in the finest principles of humanism. Yet there is one thing in which we cannot manage to surpass the national average.
The dining hall lurches with athletes. You sit down next to your friend’s maybe-roommate and she looks down at her own plate. “Wow,” she says, “you’re eating so little.”
When I googled the meaning of my last name, I felt the same way I felt while visiting the museum at Gettysburg when a docent urged me to search the database and see if my ancestors had been involved in the battle.
Nobel laureate Patrick Modiano’s most famous novel, Dora Bruder, is something like a ghost story, though not in the traditional sense. It is a ghostly story about a young man and a nation haunted by history. Modiano received the Nobel Prize in literature in 2014, the fifteenth French writer to do so after the 2008 laureate Jean- Marie Georges Le Clézio. While Le Clézio’s writing is sensual and tinted with exoticism, Modiano’s is sparse, introspective, and heav- ily autobiographical, sometimes even termed “autofiction.”
Like any child of the millennium I’ve moved through several cell phones. Each served as a safety blanket, a confidant, a sort of external hard drive for my social life.
One day this summer, sitting in a blank white apartment that was not mine, I felt a strange weariness. This apartment was full of more books than I will probably ever read and I had fellowships to apply to and emails to write and the whole Internet in front of me and all of New York City clamoring outside.
Who would have given a damn about me if not for that box?
As punishment for Prometheus’ gift of fire, the gods gave me to men. They gave me to men. I was a poisoned gift. But the importance of a poisoned gift is the venom it bears, not the gift. The box, not Pandora.
The first graffiti I ever saw were unremarkable messages etched into my middle school’s peeling wooden desks: people’s initials conjoined inside hearts, a mysterious pointy S shape, and invitations to “put an x if youre bored.”
My father’s father flew free from the depths of the Russian Empire as an infant, for sticks and stones and angry Christians drove his family out. It was in 1916 or maybe 1917.
