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Great child narrators feel like a Oulipo trick, pulled off seamlessly. Instead of writing without certain letters, writers of child narrators blind themselves to certain truths.
I’ve grown to feel that the direct address of second person point-of-view—you—feels like a forced intimacy. There’s an insistence that isn’t necessarily requited, a desperation that meshes perfectly with the plight of the main character of Maurice Carlos Ruffin’s compelling “The Ones Who Don’t Say They Love You,” (The Iowa Review 44/3) which details a…
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