By Lynne Tillman, Colm Toibin
What does Lynne Tillman do? every little thing. whatever. You identify it. She has a talk with you, and you are a greater, smarter individual for it.
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They were antiheroes performing a mostly unscripted high-wire act. Warhol believed in them, as self-creations, believed in their fictiveness; his belief acknowledged their desires and the power of fiction itself, the reality of fantasy and illusion—and also contradiction, one of fiction’s difficult truths. Another is verisimilitude, likelihood, a similarity to reality. A likely story resembles reality. It may use make-believe to arrive there. His superstars are likely stories, resemblances close enough or odd enough to question stars and stardom, actors and acting.
Over those years, the anthology had gone through many transformations. Mostly I added people: it was hard for me to say no to friends, even those who weren’t writers. When the second Dutch publisher stopped answering my letters, I finally gave up, though the book had been designed, typeset, and was actually on boards. I knew it would never be published. Curiously, I took this failure in stride, seven or eight years of work and waiting, making promises and breaking them. By then I was doing other things, living in New York and writing.
This life is enough for him, and he believes it should be for his wife. Gosling’s character might or might not exist offscreen. Still, an artifact, a movie, has proffered a novel image for Americans raised on Horatio Alger and other long-running constructions. In Blue Valentine, Ryan Gosling enacts a “real human being” better than most human beings do. I might one day meet such a person. Probably not Mr. Gosling, who would, most likely, not live up to my expectations. ” The beginnings of journeys and narratives can be as surprising as their secret destinations.