The future of the Warburg Institute, one of London’s most influential and strangest libraries, is examined at length in this week’s New Yorker. Adam Gopnik covers the history of the center, from its founding in pre-Nazi Germany through the height of its influence on the world of art history, and attempts to articulate the particular properties of Warburg, the philosophy and aesthetics and modes of scholarship, that make it unique....more
Posts Tagged: new yorker
The two men are physically incongruous. Key is tall, light brown, dashingly high-cheek-boned, and L.A. fit; Peele is shorter, darker, more rounded, cute like a Teddy bear. Peele, who is thirty-five, wears a nineties slacker uniform of sneakers, hoodie, and hipster specs.
Down at the New Yorker, Kelefa Sanneh asks where the black critics are (and whether we ever had any to begin with, and how the field is irrelevant until they come back):
Sociologists who study black America have a name for these camps: those who emphasize the role of institutional racism and economic circumstances are known as structuralists, while those who emphasize the importance of self-perpetuating norms and behaviors are known as culturalists.
At the New Yorker, Valeria Luiselli gives us an essay in defense of monuments, libraries, park benches, daughters, Dickinson, and ‘simplicissimusses’:
In that first New York of my early twenties, I decided that I despised writers who admitted to crying over art or beauty or solitude, those who indulged in elevated states of mind.
At the New Yorker, James Wood reviews Hermione Lee’s biography of Penelope Fitzgerald, an English writer who emerged on the scene at sixty-one:
The story that Lee’s book tells (or tries to tell, because much evidence has been obscured or lost) is not about patience on a monument but about talent buried under a heavy plinth, and discovered only just in time—the late achievement less a measured distillation than a lifesaving decoction.
There is proud happiness, happiness born of doing admirable things in the light of day, years of good work, and afterward being tired and content and surrounded by family and friends, enjoying a sumptuous meal, ready for a deserved rest—sleep or death, it would not matter.
Over at the New Yorker, Kelefa Sanneh gives Chris Rock the profile treatment. Sanneh touches on the business of comedy, dueling aesthetics, and the trouble with staying relevant in an age of irrelevance:
On set, whenever someone complimented Rock’s performance in a scene he responded with cheerful self-deprecation: “Just trying to stay in show business.” Unlike Andre Allen, Rock doesn’t have a signature character so popular that he never has to work again… He is a working comic who needs to keep working.
In his new book The Sense of Style, brain scientist Steven Pinker calls for a relaxation of English grammar rules. While the Daily Beast’s review praises Pinker for rejecting the false dichotomy between prescriptive and descriptive grammar, the New Yorker argues that we need rules to communicate....more
It’s that time of year where we’re all craving a good scary story, be it told by candle light, on a screen, or in a book. Neil Gaiman’s middle-reader graphic novel Hansel and Gretel came out on Tuesday of this week, and he recently spoke to TOON Books editor Françoise Mouly and Art Speigelman about it....more
Books have been written or arranged in chapters for over two millennia now, although that fact has never received the attention it deserves from historians of the written word. Perhaps the sheer longevity of the concept has rendered it invisible.
The New Yorker takes a look at the long history of how we divide up our books....more
Invoking his new play, Buzz, Benjamin Kunkel writes in the New Yorker about how “few imaginative writers have dealt with the present-day experience of global warming in a direct and concentrated way” and why this might be the case:
If climate change has, to date, proved hard to write about, that’s because it exists for most of us, to date, as something that afflicts different neighborhoods, distant cities, or future times.
We have to interrogate our basic assumption that writing skills possessed by educated white people are the best skills around…Humor, action, relatable language, and plotting are not lesser tools in a writer’s toolbox, but equally necessary ones.
(n.); the utterance of articulate sounds by a ghost or a spirit
“Each year, the Great Pumpkin rises out of the pumpkin patch that he thinks is the most sincere. He’s gotta pick this one. He’s got to. I don’t see how a pumpkin patch can be more sincere than this one.
At the New Yorker, Francisco Goldman tackles the malaise shadowing his favorite city in the world:
Mexico City feels different these days. Its usual vibrancy has been muted, and not only because of the missing students of Ayotzinapa. Paéz tells me that when he walked the city streets on the night of September 16th, which is Mexican Independence Day, he was struck by how quiet things were.
Tom Hanks (yeah, that one), lands his short fiction debut over at the New Yorker:
I’ve been around great storytellers all my life and, like an enthusiastic student, I want to tell some of my own. And I read so much nonfiction that the details stack up in my head and need a rearranging sometimes.
Over at the New Yorker, Etgar Keret and Sayed Kashua continue their conversation:
I believe that this despair is temporary, and that even though there are quite a few political elements that would rather see us despairing, and even though it sometimes seems as if enormous forces are working to convince us that hope is just another word in our national anthem and not a powerful force that can lead to change, people feel deep down that the terrible situation we find ourselves in is not really the only dish on the regional menu.
For the New Yorker, Jon Michaud reveals how S.E. Hinton’s The Outsiders, a staple in middle school and high school classes, came to define the young adult genre:
“The Outsiders died on the vine being sold as a drugstore paperback,” Hinton told me, but her publisher “noticed that in one area it was selling very well.
Etgar Keret and Sasha Kayua have had a pretty busy year: after speaking out against Israeli intolerance, and getting snubbed on every front, the pair turned to penning their viewpoints to each other. The New Yorker‘s published a few of them, and when Kashua asks Keret for a story to see him through, his friend does us all the favor of obliging:
2015 was a historic year in the Middle East, all because of a surprising, brilliant idea that an Arab-Israeli expatriate had.
In anticipation of the Best American Essays 2014, which will come out later this week from Houghton Mifflin, the New Yorker brings us an adaptation of John Jeremiah Sullivan’s introduction to the anthology—a historical investigation of the word “essay.” Sullivan goes beyond the well-worn territory of debating the connotations Montaigne intended for his “Essais,” exploring the literary legacy of King James and the cultural reach of dramatist Ben Jonson....more
There aren’t many things that make sense, nakedly, without justification or explanation or exposition. But George Saunders reading Barry Hannah and Grace Paley does. For the New Yorker‘s Page Turner, he leafs through Paley’s “Love,” Hannah’s “The Wretched Seventies,” and chats about the reverberations of both....more