A slim, shattering book by a French collective called Tiqqun shows us the “Young-Girl” in everyone in consumer society—experiencing ourselves almost entirely as commodities to be valorized and marketed.
Cherilyn Parsons, in her Truthdig review of “The Orphan Master’s Son,” wrote that the book, which just won the Pulitzer Prize, is “a rich, careening, dystopian tale that stretches the form of a novel to give us a visceral hit of life inside North Korea.”
“Freedom” is about something important, but the hubbub about how the critical establishment favors male literary writers like Franzen is also significant. Why has everyone cared so much? Because fiction matters.