Posts Tagged: The New Republic
You can’t put everything in the cloud. Over at The New Republic, William Giraldi makes the case for holding onto books in their physical form:
We might be reading them—although I find that an e-reader’s scrolling and swiping are invitations to skim, not to read—but fully experiencing them is something else altogether.
In the post-9/11 generation—a cohort caught between the promise of an economy that values creative work and the scarring, post-crash economic reality—[Adler] has, once again, found a small, devout audience.
Reviewing Mary Norris’s Between You & Me: Confessions of a Comma Queen for The New Republic, Julia Holmes reflects on her own experience as a copy editor, as well as her place in the magazine class system....more
A profile on Arthur Goldhammer, who has translated over 100 books from French to English.
As a translator, Goldhammer tries to find a pragmatic middle-ground between literalism and freestyle. The goal is to be faithful to the contents of a book but also find a style for it that works in English.
Somewhere amid the fray of criticism, support, and speculation over e-books, linguistics professor Naomi Baron thought to ask readers whether they even liked them:
…you have to ask: What do you want to measure? Do you want to measure comprehension? That’s a fairly plain, middle-school way of talking about what it means to read.
In January 1882, before he wrote “The Importance of Being Earnest, The Picture of Dorian Gray, or any of the great works for which we honor him today,” Oscar Wilde went on a tour throughout the United States, lecturing about interior decorating, craft-making, and home aesthetics....more
For The New Republic, Ryan Kearney responds to those claiming that American tourism and investment will ruin Cuba’s romanticism:
If you visit Cuba to puff cigars, get drunk on rum-and-cokes or mojitos, read Hemingway, and fetishize the country’s dilapidation with your brand-new Canon Rebel, you just might miss [its] uglier side.
Along with the other onslaught of reactions to The New Republic’s mass resignation, George Packer offers his own response at the New Yorker, suggesting that the “collapse” (along with the recent Rolling Stone debacle) shows a “crisis” in journalism:
The crisis in journalism is a business crisis, and it’s been going on for twenty years; the outcome remains far from obvious.
The tension between an engineering culture and an editorial culture is …damaging and oversimplified … but definitely real. At the recent Newsgeist conference – a coming-together of technologists, educators, journalists and executives – one of the most animated sessions was called “Product versus Editorial” and, if there had been an option for us to express ourselves with primal screaming, it would have shattered the windows, such was the frustration of those who have to work with both.
Who would’ve thought Bertolt Brecht would turn out to be such a romantic? While his newly released Love Poems are surprisingly erotic compared to his better-known plays, they retain that Marxist flair we know and love:
Brecht’s love poems might just as easily be dubbed the death of love poems, since he is concerned with the vicissitudes of love, with the manner in which one is first defined and then destroyed by love.
I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale.
In the midst of debate over Amazon’s place in the publishing industry, Margo Howard raises questions about the authority of its consumer-based literary criticism. When it comes to art, the retail giant’s capitalist-populist approach may do more harm than good:
These people were not reviewing my book, they were reviewing me.
In an excerpt from his upcoming book, linguist Dan Jurafsky analyzes the metaphors we use to describe different kinds of food. Turns out humans are pretty optimistic:
The Pollyanna effect has been confirmed in dozens of languages and cultures, and comes up in all sorts of nonlinguistic ways as well.
For years, film buffs have been devouring companion material to the original works that captured their interest—deleted scenes, commentary, bloopers, most eagerly that much-loved paean to auteurism, the director’s cut. To accept this practice is to acknowledge the impossibility of artistic perfection; as the saying goes, “art is never finished, only abandoned.” The New Republic wonders why the literary world is so hesitant to make the same admission....more
A boozy editor; a powerful though closeted publisher who retreats to the countryside to paint naked youths; a jealous literary agent whose own writing is “deplorably derivative”; a much-revered but pompous and sexist novelist; a writer of “bloody awful erotic fantasy”; and the victim’s wife, who ignores his books until they have “proper covers.” Then there’s Owen Quine himself, a middle-aged writer riding out his career on a novel published years before—the only decent work of literature he’s produced.
Jill Abramson, the first woman to head the New York Times as executive editor, was abruptly fired Wednesday and replaced by managing editor Dean Baquet.
The New Yorker attempted to explain why, with the leading theory being Abramson’s discovery several weeks ago that she earned less than her male predecessor....more
It is too late to shield himself. For all the success of My Struggle, Knausgaard speaks of its impact with more regret than pride.
Prussian poet Gottfried Benn landed on the wrong side of history, supporting Hitler’s government in the early 1930s when it promised solutions to the global economic collapse. But by 1934, his allegiance to the regime ended as it became clear the Nazi party were not “cultural pessimists” but rather “criminal politicians.” Over at The New Republic, Adam Thirlwell points to Benn as a “case study in disgrace.”
He gives disgrace its aesthetic form.
In 1934, Malcolm Cowley, editor of The New Republic, got in touch with many renowned American writers asking them to list 3 or 4 of the best hidden gems of literature adding a few sentences to present the titles to the public....more
When the people followed the Communists at the beginning of the twentieth century, they gave up Christ, but they found it impossible, as the revolutionary poets exhorted them, “to throw Pushkin overboard the steamboat of modernity.”
Prominent Russian writer Mikhail Shishkin has an essay up at The New Republic, translated from Russian, about the fundamental conflicts between his country’s society, its government, and its literature....more
Loneliness is more than just a feeling, according to an article in the New Republic. It’s a biological process that activates your physical pain responses and trashes your immune system.
Here’s one of many fascinating (and, okay, probably depressing) examples of the very tangible effects of loneliness, from a study of gay men with HIV during the ’80s:
The social experience that most reliably predicted whether an HIV-positive gay man would die quickly, Cole found, was whether or not he was in the closet.
What exactly is the purpose of AWP? To meet new or online-only writer friends? To interact with your favorite authors? To advance your own writing career with networking maneuvers and information absorbed in panel discussions?...more
Lionel Shriver’s latest novel The New Republic was released this week. Interview Magazine converses with Shriver about terrorism, disarming with mockery, the cheapness of notoriety, and being a fan versus being the man.
“When you are the man, you may be someone everyone admires and wants to be, but who do you want to be?...more