The Return of the Player

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  1. Josh Donaldson returns to Toronto as the player Jays fans like to remember
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Donaldson is an emotional player who was not afraid to be confrontational. That rubbed some people the wrong way, and while it might not have won Donaldson any popularity contests, there is something to be said for the accountability that he demanded.

Josh Donaldson returns to Toronto as the player Jays fans like to remember

Edwin Encarnacion and Jose Bautista were treated like kings every time they stepped into the box and Donaldson should receive the exact same treatment over the next two days. Toronto is all about embracing the future these days, but this is the one week which should be about embracing the past. Donaldson demanded from others what he expected of himself, and the Blue Jays enjoyed back-to-back appearances in the post-season partially because of it.

Before Donaldson showed up, it had been more than 22 years since that was last said. Copyright owned or licensed by Toronto Star Newspapers Limited.

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Griffin himself believes the world has reached its expiry date, doomed by overpopulation and global warming. The only possible solution is a private island thousands of miles away from the rest of humanity, but that requires money and lots of it.

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  8. Tolkin enjoys amplifying the anxieties of our times with outlandish similes. Schooling is a major concern and the panic among American parents about 'the saving power of a degree from the Ivy League' is equated, somehow, with the impulse in 'parents in other countries who raise their children for suicide martyrdom'; as he writes: 'Blowing yourself up on a bus on Ben Yehuda Street is an early acceptance to Princeton. This overexuberance is the most entertaining aspect of Tolkin's sequel, which drives Griffin to do some amusingly stupid things. Mill goes all out to attract Ginsberg's attention, which means committing financial suicide as well as murder.


    Everything Mill does is informed by movie 'wisdom'. His life is subject to the same rules that govern script rewrites and he's on the look-out for 'a mentor figure' and 'a strong through-line for his super objective'. The novel thrives on this kind of empty language. Other characters are defined in cod psychological terms doled out by dodgy therapists and new-age faiths, and while there is comic mileage in all this, the satire eventually collapses under the sheer weight of psychobabble.

    The first big literary commandment Tolkin breaks is 'show, don't tell'.

    The characters never fully emerge from beneath the mass of description heaped upon them. Walter Kirn. We are in danger of forgetting how to resist. NK3 lives on many levels: as dystopian Los Angeles thriller, as a metaphor for a culture shredding its own relationship to fact and memory, and was razor-wire meditation on the loss of the self—that constantly murmuring life-force tugging us hither and yon from within and ever evading our grasp.

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    As an existentialist horror story, NK3 tautly proposes a future that now, in post-factual America, seems closer than ever. Jon Robin Baitz. Michael Tolkin is an award-winning writer, director, and producer.