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magtferg 's review for:
The Empathy Exams: Essays
by Leslie Jamison
“I broke my arm there in January, but it’s pretty.”
“Sounds like fun.” 101
saccharine
“an emotional indulgence that involves misrepresenting the world” 114 (simplistic)
“I’ve got a bad case of the sentimentals.” 115
“earnest attempts to articulate pathos without cloaking it in cleverness or wit.” 115
“an undue agency to emotions—distracting us from conceptually rigorous or logistically tenable ethics—its aesthetic opponents attack sentimentality …flattening [emotions] into hyperbole or simplicity.” 116
“How do we distinguish between pathos and melodrama? Too often, I think, there is the sense that we just know. Well I don’t.” 116
“We reject sentimentality to sharpen a sense of ourselves as True Feelers, arbiters of complication and actual emotion.” 127
“I’m afraid of its inflated gestures and broken promises. But I’m just as afraid of what happens when we run away from it: jadedness, irony, chill.” 130
“We crash into wonder—fling ourselves upon simplicity—so that it can render us heavy and senseless, deliver us finally to the ground.” 131
“In physics, …the observer effect: you can’t observe a physical process without affecting it.” 182
“…the poet must record, because the wounded self can’t express anything audible…”
“I don’t like the proposition that female wounds have gotten old; I feel wounded by it.” 199
“I began to understand it as inherently feminine, and because it was so unjustified by circumstance, it began to feel inherently shameful.” 206-7
“These books offered an opportunity for two-pronged empathy—the chance to identify with martyr and survivor, to die and live at once, to feel simultaneously the glory of tragedy and the reassurance of continuance.” 211
“Sounds like fun.” 101
saccharine
“an emotional indulgence that involves misrepresenting the world” 114 (simplistic)
“I’ve got a bad case of the sentimentals.” 115
“earnest attempts to articulate pathos without cloaking it in cleverness or wit.” 115
“an undue agency to emotions—distracting us from conceptually rigorous or logistically tenable ethics—its aesthetic opponents attack sentimentality …flattening [emotions] into hyperbole or simplicity.” 116
“How do we distinguish between pathos and melodrama? Too often, I think, there is the sense that we just know. Well I don’t.” 116
“We reject sentimentality to sharpen a sense of ourselves as True Feelers, arbiters of complication and actual emotion.” 127
“I’m afraid of its inflated gestures and broken promises. But I’m just as afraid of what happens when we run away from it: jadedness, irony, chill.” 130
“We crash into wonder—fling ourselves upon simplicity—so that it can render us heavy and senseless, deliver us finally to the ground.” 131
“In physics, …the observer effect: you can’t observe a physical process without affecting it.” 182
“…the poet must record, because the wounded self can’t express anything audible…”
“I don’t like the proposition that female wounds have gotten old; I feel wounded by it.” 199
“I began to understand it as inherently feminine, and because it was so unjustified by circumstance, it began to feel inherently shameful.” 206-7
“These books offered an opportunity for two-pronged empathy—the chance to identify with martyr and survivor, to die and live at once, to feel simultaneously the glory of tragedy and the reassurance of continuance.” 211