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David had this entirely different sensibility. He loves grand, mythic works of art. His favorite composer is Wagner. Among tragedians, he likes Aeschylus, whereas I’m a Euripides person. He introduced me to Sergio Leone and Kurosawa and Mel Brooks. The coexistence of these radically different aesth…

[...] DeWitt’s novel hopes for a world that might make it possible to write a better sort of literature and be ready to receive that literature. The Last Samurai is not an example of that hypothetical literature. DeWitt knows perfectly well—though she may not always admit it in interviews and essay…

Autotelic education requires, in her view, a radical transformation of our cultural institutions, social expectations, and economic lives.

[...] And as reviewers have frequently pointed out, DeWitt is as interested in writing fiction as she is in discussing information theory and linguistics and classical scholarship. One critic suggests that The Last Samurai is “a rare work of knowledge porn that actually conveys knowledge.” Unlike …

[...] The Last Samurai has largely been written about as if it were part of the postmodern tradition. It’s often taken as an example of one of the most prestigious postmodern genres, encyclopedic narrative, “an almost super-canonical form, yet one that is virtually unread.” Sam Anderson has called …