
Rachel Cusk Reads “The Stuntman”
The New Yorker: The Writer's Voice - New Fiction from The New Yorker
d'S Upside Down Paintings
When D's wife first saw the upside down paintings, she felt as though she had been hit. The paintings made her unhappy, or rather they led her to acknowledge the existence of an unhappiness that seemed always to have been inside her. She couldn't have accused D of exploitation. Unlike other artists, he didn't paint out of self-importance,. nor had he ever taken any kind of liberty that the public value of his gaze might have seemed to legitimise. So he had come upon this marginal perspective sidlingly, as it were, from a sideways direction and participated in its disenfranchisements with the difference that he had succeeded in giving it a voice.
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