@simonsarris Ficciones - Borges
Pale Fire - Nabokov
The Rider - Krabbé
The Last Samurai - DeWitt
The Mezzanine - Baker
The Third Policeman - O’Brien
If On A Winter’s Night - Calvino
Middlemarch - Eliot
The Mystery Guest - Bouillier
Death Comes for the Archbishop - Cather
@CatholiCinephil I give Pretty Women the nudge over Johanna because of how it elevates, and is elevated by, the context of the scene, and illuminates the evil of the characters amid the extraordinary tension of Todd running a razor across JT’s face…
Genius!
But I won’t argue with Feed Me.
@Komaniecki_R I can’t believe I’m dipping a toe into the recent “discourse” because I feel almost everyone has come across awfully but doesn’t this prove @ethanhein’s point?
@MusicOfLee Obviously this is a perennial debate, but it seemed to bubble up into a more public discussion with numerous articles weighing in back in 2000.
@MusicOfLee There was a lively public debate around this back in 2000 and Maury Yeston weighed in via this article.
The main argument was that what historically distinguishes them is less about formal differences and more about how much control the composer has.
https://t.co/GE83cdWRnP