He wrote, "I don't know if the world can do without German civilization, but I do know that its corruption by the teachings of hatred is a crime."Jorge Luis Borges, Selected Nonfictions, p 200. In a 1938 essay, Borges reviewed an anthology which rewrote German authors of the past to fit the Nazi party line. He was disgusted by what he described as Germany's "chaotic descent into darkness" and the attendant rewriting of history.
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He argued that such books sacrificed the German people's culture, history and integrity in the name of restoring their national honour. Such use of children's books for propaganda he writes, "perfect the criminal arts of barbarians."Selected Nonfictions, p. 201. In a 1944 essay, Borges postulated, In 1946, Borges published the short story "Deutsches Requiem", which masquerades as the last testament of a condemned Nazi war criminal named Otto Dietrich zur Linde.
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Morrison's work has been included in an anthology for the literary study of disability, titled Beauty is a Verb. Morrison’s poems have also appearedin literary journals and magazines including American Poetry Review, Boston Review, Chicago Review, Colorado Review, Gulf Coast, Lana Turner, New American Writing, Pleiades, Verse, and VOLT. Her critical writings and creative nonfictions have been published in journals including Chicago Review, Denver Quarterly, Poetry Flash,Poetry Flash #287 Verse, and in the anthology One Word: Contemporary Writers on the Words They Love or Loathe (Sarabande 2010).
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" He argued that, despite their claims to detest capitalism, Juan and Eva Perón "copied its methods, dictating names and slogans to the people" in the same way that multi-national corporations "impose their razor blades, cigarettes, and washing machines." Borges then listed the numerous conspiracy theories the ruling couple dictated to their followers and how those theories were accepted without question.Jorge Luis Borges, Selected Nonfictions, pp. 409–10. Borges concluded: In a 1967 interview, Borges said, "Perón was a humbug, and he knew it, and everybody knew it.
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Bruce Clarke, writing in South Atlantic Review, found Reading Pound Reading to be "another reminder that many canonical modernists are most powerfully attended to at their margins, not in their stories and poems but in their 'nonfictions,' in the rhetorics of their 'doctrinal' discourses." Clarke describes Lindberg's study as one that > deposits [Pound] with pen and paper in the rhetorical study, reading and > writing transgressively. Pound the literary/political performance artist > attempting to dominate historical events; Pound the deconstructive writer/ > critic anarchistically disrupting textual forms. We are beginning to > appreciate just how completely these two Pound-personae are allotropic forms > of the same ego-phenomenon, how this turbulent ego-phenomenon is a modernist > Medusa—when we hold up the mirror to aim the spear, our own evasive faces > are reflected in the glass.
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