"Outrageously entertaining . . . a warm, funny, and charming book that questions not only what it means to live for art, but what it means to live."--Saul Austerlitz, Boston Globe
"Hugely entertaining."--John Murawski, Raleigh News & Observer "A daring descent into the 'chasm of uncertainty.'"--Matt Seidel, Los Angeles Review of Books "Start reading I Think You're Totally Wrong, then try to stop; I dare you. It screws with your head in a way you can't shake off, and it's moving--weirdly moving. It ruined my work day. I loved it. Shields is opening up new ways to be a writer."--Walter Kirn "I Think You're Totally Wrong helped make sense of the strange rigors of life as I know it--the balancing of art, work, motherhood, along with enough time to have those moments of adventure or inspiration so that the pleasure of art still feels filled with life, a sort of Proust versus Conrad question many writers or artists know. The book's arc is seamless, deceptive, effective: by its close, the reader feels an antinarrative resolution, a sense that everyone leaves a bit more alive from the exchange."--Edie Meidav, The Rumpus "The premise of the book could easily play as straight farce: two self-involved and argumentative men argue with each other about . . . themselves. Often in a hot tub. ('You said you wanted homoerotic tension, ' Powell says to Shields. 'Were you hitting on me?') But what unfolds is actually quite gripping, and they're well aware of the farcical qualities. Not only do we witness personal experiences conscripted into intellectual work; we witness these disclosures getting heard and processed. In the end, the form of the book is more illuminating than any resolution the authors find to their central conflict. Shields and Powell offer a different vision of how the confessional might play out: rather than baring their psychic flesh for the sake of exposure and intimacy ('You said you wanted homoerotic tension'), they are excavating complexities inside their experiences. . . . Shields and Powell have generated a 'lived' creative inquiry with its roots in the conflict between living and creating. 'Art can serve people, ' Shields declares. 'Basically, the royal road to salvation, for me, lies through an artist saying very uncompromising things about himself. And through reading that relentless investigation, the reader will understand something surprising about himself.' This notion of investigation offers an alternative to confession. Its goal isn't sympathy or forgiveness. Life is not personal. Life is evidence. It's fodder for argument. To put the 'I' to work this way invites a different intimacy--not voyeuristic communion but collaborative inquiry, author and reader facing the same questions from inside their inevitably messy lives."--Leslie Jamison, The Atlantic "Provocative . . . entertaining . . . diverting."--Kurt Rabin, Fredericksburg Free Lance-StarCaleb Powell always wanted to become an artist, but he overcommitted to life; his former professor David Shields always wanted to become a human being, but he overcommitted to art. The stay-at-home dad (three young girls) and the workaholic writer (eighteen books) head to the woods to spend four days together in a cabin, arguing life vs. art.
I Think You’re Totally Wrong is an impassioned, funny, probing, fiercely inconclusive, nearly-to-the-death debate. Shields and Powell talk about everything—marriage, family, sports, sex, happiness, drugs, death, betrayal, and (of course) writers and writing—in the name of exploring and debating their central question: the lived life versus the examined life. There are no teachers or students here, no interviewers or interviewees, no masters of the universe—only a chasm of uncertainty, in a dialogue that remains dazzlingly provocative and entertaining from start to finish.
James Franco’s film adaptation of I Think You’re Totally Wrong, starring the authors, premiered in 2015.
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