Posts Tagged: New York Times Magazine
The question of what posture to take toward our own pain is unexpectedly complicated. How do we understand our own suffering—with what words and to what ends?
For the New York Times Magazine, Parul Sehgal questions the terminology we use when talking about sexual assault: from “victim” to “survivor,” either term a kind of interpellation unto itself, possibly infringing on personhood—and all the facets “person” might mean....more
The New York Times Magazine profiles editor Chris Jackson and how he’s building a literary movement for writers of color:
‘‘The great tradition of black art, generally,’’ he started again, ‘‘is the ability—unlike American art in general—to tell the truth. Because it was formed around the great American poison, the thing that poisoned American consciousness and behavior: racism.
At The Morning News, prominent writers and thinkers discuss what they believe to be the most and least important events of the year. For example, Jazmine Hughes, associate digital editor of the New York Times Magazine, says:
“The best and worst parts of this year are intricately related, two threads of 2015’s now-tattered pall.
“Hello” is not really a compassionate breakup song, like Carole King and Toni Stern’s “It’s Too Late”—the breakup here seems to have happened long ago—but rather an acknowledgment that you can never really make a clean break, that the memories float around like emotional flotsam and sometimes still land ashore.
There’s the crown-letted frog who can’t seem to truly love any of the women willing to kiss him, and break the spell. There’s the prince who’s spent years trying to determine the location of the comatose princess he’s meant to revive with a kiss, and has lately been less devoted to searching mountain and glen, more prone to bar-crawling, given to long stories about the girl who got away.
How wonderful it must feel to go to “Dismaland” and see through society! But how awful to see society embrace art that makes you feel nothing, that makes you think only about the vast chasm between you and everyone else.
In an essay in the New York Times Magazine, Dan Brooks writes about street artist Banksy, kitsch, and the zeitgeist of our times....more
Johnetta Elzie and DeRay McKesson, the authors of America’s first full scale 21st century civil rights movement, get the full profile treatment at the New York Times Magazine....more
Yet the idea of New York as a walker’s paradise—a city best, and only authentically, grasped by sauntering through it—has persisted. Much of the great literature of New York has been written from the perspective of the sidewalk: the deafening street clatter and humming rattle of the L train that roar through John Dos Passos’s “Manhattan Transfer”; Ralph Ellison’s Invisible Man eating yams on a Harlem street corner and tasting freedom; the author Quinn in Paul Auster’s “City of Glass” realizing that the peregrinations taken around the city by his quarry spell out the words “Tower of Babel.”…You never need to ask New Yorkers where they’re going.
Over at NYT Magazine, Etgar Keret slips us an essay on teaching his son the art of forgiveness:
The minute we got into the taxi, I had a bad feeling. It wasn’t because the driver asked me impatiently to buckle the kid’s safety belt after I already had, or because he muttered something that sounded like a curse when I said we wanted to go to Ramat Gan.
For the New York Times Magazine, Colson Whitehead traces the conception of the “loser edit,” and how it awaits us all. Fifteen years after the emergence of shows like Survivor and The Amazing Race, “the critical language used to carve up the phonies, saints and sad-sack wannabes of [these] reality shows has migrated, and the loser edit has become a limber metaphor for exploring our own real-world failures.”...more
Chris Offutt talks about the life and death his father, one of America’s last adult-pulp writers, for NY Times Magazine:
In the mid-1960s, Dad purchased several porn novels through the mail. My mother recalls him reading them with disgust — not because of the content, but because of how poorly they were written.
At NYT Magazine, Maggie Jones profiles an entire generation: the South Korean adoptees making the trek back “home.” But having spent their lives abroad, where “home” is becomes a tough question to answer:
As Trenka writes in her memoir, “The Language of Blood”: “How can I weigh the loss of my language and culture against the freedom that America has to offer, the opportunity to have the same rights as a man?
She is cut off not only from basic tools of reporting, like going places and seeing things, but also from all the promotional machinery of modern book selling.
For the New York Times Magazine, A.O. Scott argues about the “slow unwinding” of patriarchy in American culture, drawing on modern television, history, and literature. In part responding to Ruth Graham’s essay at Slate, in which she urges against adults reading young adult fiction, Scott offers a different perspective:
Instead, notwithstanding a few outliers like Henry James and Edith Wharton, we have a literature of boys’ adventures and female sentimentality.
You probably knew that Lena Dunham wrote a memoir (if you didn’t, she has), but she’d love to remind you why she’s qualified. Meghan Daum elaborates for the New York Times Magazine:
To suggest that Dunham is too young, too privileged, too entitled, too narcissistic, neurotic and provincial (in that rarefied Manhattan-raised way) to be dispensing advice to anyone is to add very little to the ever-expanding, very much already-in-progress conversation about her place in the culture and her overall right to exist.
When the judges of a lucrative “debut-detective-novel writing contest” chose Alaric Hunt’s murder mystery Cuts Through Bone, they didn’t realize it was written in prison by an actual murderer.
Click here to read a New York Times Magazine piece about Hunt’s crime, his novel, and what Minotaur Press decided to do with a criminal’s crime novel....more