pollari

<div class="at-above-post-homepage addthis_tool" data-url="https://blog.lareviewofbooks.org/essays/connections-collage-citation-work-lana-del-rey-maggie-nelson/"></div>These days, Lana Del Rey records every interview she does as a mode of self-protection against publications taking things she says out of context. The anxiety of citation has caused Del Rey to take major precautions; and yet, her new album Lust for Life is brimming with references, even more than her previous albums, from its title all the way to its final, Radiohead-riffing manifesto. Though they may not be attributed as citations, they are easily recognizable as pop canon: there are direct lyrical callouts to “Tiny Dancer,” “Stairway to Heaven,” “I Fall to Pieces,” and many more. The album also nods toward genres: the motorcycle revving at the beginning of the title track is straight out of teenage tragedy ballads like “Leader of the Pack.” How does the fact of Del Rey’s concern with citation, and with being cited correctly herself, reconcile with her borrowings from pop? <a href="https://blog.lareviewofbooks.org/essays/connections-collage-citation-work-lana-del-rey-maggie-nelson/#more-5331" class="more-link">Read more</a>
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Connections, Collage, and Citation in the Work of Lana Del Rey and Maggie Nelson

The Red Book of Farewells

Niina Pollari is a writer and translator and the author of the poetry collections Path of Totality (Soft Skull, 2022) and Dead Horse (Birds, LLC, 2015).

Niina Pollari

Something Reconstructed: On Pirkko Saisio’s “The Red Book of Farewells”

"There is nothing more poetic and terrible than the skyscrapers' battle with the heavens that cover them." — Federico García Lorca

Nonfiction

The Phone Is a Public Space

"The older one grows, the more one likes indecency." — Virginia Woolf

Memoir &amp; Essay

Niina Pollari is a writer and translator and the author of the poetry collections Path of Totality (Soft Skull, 2022) and Dead Horse (Birds, LLC, 2015).