August 1, 2019
Look beyond shallow time
An online-only review of books and arguments about books.
August 1, 2019
Look beyond shallow time
May 15, 2019
David Wallace-Wells’s new book is one of the few honest accounts of the costs, both tangible and metaphorical, of global warming.
David Wallace-Wells’s new book, The Uninhabitable Earth: Life After Warming, reads at once as an innovative look at manmade climate change and also as old news. As Wallace-Wells himself states at points, not much in his book is new. Even the scariest near-term predictions and assessments, like the possibility that “should the planet warm 3.7 degrees . . . climate change damages could total $551 trillion—nearly twice as much wealth as exists in the world today,” or that, at the upper-end of temperature predictions for the end of this century, “humans at the equator and in the tropics would not be able to move around without dying” have been accessible to the general public online or in academic articles and assessments. What is new is the candor of the narrative and relative impassivity with which Wallace-Wells, a career journalist, elucidates the distressing implications of the facts that he reports.
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February 26, 2019
On Paul Volcker
Those who praise Volcker like to say he “broke the back” of inflation. Nancy Teeters, the lone dissenter on the Fed Board of Governors, had a different metaphor: “I told them, ‘You are pulling the financial fabric of this country so tight that it’s going to rip. You should understand that once you tear a piece of fabric, it’s very difficult, almost impossible, to put it back together again.” (Teeters, also the first woman on the Fed board, told journalist William Greider that “None of these guys has ever sewn anything in his life.”) Fabric or backbone: both images convey violence. In any case, a price index doesn’t have a spine or a seam; the broken bodies and rent garments of the early 1980s belonged to people. Reagan economic adviser Michael Mussa was nearer the truth when he said that “to establish its credibility, the Federal Reserve had to demonstrate its willingness to spill blood, lots of blood, other people’s blood.”
February 15, 2019
On Rachel Kushner and Sergio De La Pava
The women in the novel are subjected to sexual violence so regularly that it is treated as if it is just another part of their punitive program. For many of them, this sexual violence is not unique to their time in jail. Kushner wisely demonstrates throughout the novel that patriarchy and its parallel oppressive structures are not phenomena specific to incarceration; they groom these characters from birth to feel comfortable in the rigidly authoritative structures of prisons. “I had been a waitress at IHOP right after I graduated high school,” Romy says. “I was waitress 43, and the cooks would call, Forty-three! Your order is up! Which, as I only saw later, had been preparing me for here.” With wrenching flashbacks to Romy’s youth that bare the bruises of innocence forcibly taken, Kushner shows us Romy navigating and bucking authority throughout her life, in her predatory friendships, in her work as a stripper, and in her experiences with men. By the time she ends up in prison, like the rest of the women around her, she hardly has the capacity to question or resist authority.
February 6, 2019
An oeuvre inaugurated by disavowal
Around 2014, I began to talk to friends about Joni and was disappointed—surprised—by how little they knew. These were people who listened to music. I had a conversation about her with a highly accomplished ex-student in New York, a writer who had musical training, who thought I was talking about Janis Joplin. This was related to a problem: the plethora of Js among women musicians of the time, which led to their conflation into a genre. Janis Joplin, Judy Collins, Joan Baez, and Joni Mitchell: the last three especially were seen as interchangeable. Even if I put down my ex-student’s confusion to uncharacteristic generational ignorance, I found that, on mentioning Joni to a contemporary I had to work hard to distinguish her from Joan Baez. My friend had dismissed—not in the sense of “rejected,” but “taxonomized”—Joni as being part of a miscellany of singers with long, straight hair, high, clear voices, and a sincerity that shone brightly in the mass protests of the late ’60s. Visually, in her early acoustic performances with guitar, and even in her singing, she appropriated the folk singer’s persona to the point of parody, while the songwriting was absolutely unexpected. To prove this to my friend, I played her “Rainy Night House” and “Chinese Café / Unchained Melody.” It became clear in twenty seconds that Mitchell was not Joan Baez.
January 23, 2019
The populist revolt is not against the crash, or even its immediate aftermath, but against the nature of the recovery.
This is the economic backdrop of the populist revolt. To the extent that it is driven by economics, it is a revolt not so much against the crash, or even its immediate aftermath—as Tooze seems to suggest—but against the nature of the recovery. This recovery, sustained by historically unprecedented “accommodative” monetary policies, is now nearly the longest on record. But it has proved to be yet another iteration of a now forty-year macroeconomic pattern for which centrist liberals bear much responsibility. It is the economy whose pre-crisis development they happily facilitated and which, during the 2008 crisis, they brought back to life, if moderately reformed. But since 2008, this same old asset-led global capitalism has slowly but steadily worn down the political establishment’s reserves of legitimacy.
December 12, 2018
William T. Vollmann confronts climate change
Carbon Ideologies does not appear to aspire to readability. The primer’s level of technical detail simply doesn’t justify the hemorrhaging of readers it will unquestionably induce. It should have been published online, along with the notes. The section on Fukushima makes a certain amount of chronological sense (the disaster occurred in 2011, as Vollmann was embarking on the project), but from a conceptual and narrative point of view it is misplaced. For one thing, this leg of the project doesn’t fit neatly under the heading of a “carbon ideology.” The argument seems to be that, once we have come to terms with the damage we are doing to the atmosphere with our overuse of carbon fuels, we will move onto newfangled forms of energy that are equally destructive, albeit in different ways. But then why not include all this at the end, as a disconcerting epilogue?
November 23, 2018
On Chantal Mouffe
November 23, 2018
On Anne Boyer
Anne Boyer’s negativity is capacious, incorporating explicit political action as well as more opaque forms of noncompliance. In “No” it’s exemplified by both children who refuse dinner and workers who slow the line. “Some days my only certain we is this certain we that didn’t, that wouldn’t, whose bodies or spirits wouldn’t go along.”
September 12, 2018
Bob Woodward’s self-parody
At the center of this universe sits Trump, like the Blind Idiot God Azathoth in H.P. Lovecraft’s Cthulhu Mythos. If the self-serving narratives of personal accomplishment Woodward’s principals relate are dubious, their descriptions of Trump are not. He is impetuous and erratic, vulgar and incurious. A font of abuse, he showers invective on those around him.
July 18, 2018
On Adrian Piper
In an essay from 1988 called “The Joy of Marginality” Piper made explicit the scope and purpose of her own political and socially-critical art. “My work is an act of communication that politically catalyzes its viewers into reflecting on their own deep impulses and responses to racism and xenophobia, relative to a target or stance that I depict,” she wrote. To achieve this goal (or any goal of effecting psychological change through art), Piper thought it was essential to engage the viewer in what she called the “indexical present” of the work of art: a here-and-now created in the transaction between artist and audience. (Conversely, she expressed skepticism about the efficacy of “global political art” that attempts to educate or persuade the viewer concerning a situation represented as being external to the viewer’s own experience). In another text, “Performance: The Problematic Solution,” Piper championed the didactic and the confrontational as central aspects, or modes, of this form of artist–viewer engagement.
May 24, 2018
On Alan Hollinghurst
At this point, you might be wondering what the plot of this book is, and that’s a fair question. “My old friend the novelist Lawrence Norfolk used to say, ‘You write marvelous descriptions, but why do you have these terrible plots?’” Hollinghurst noted in The Paris Review, in 2011. “I like evoking atmospheres and analyzing relationships and feelings, but plot I feel faintly embarrassed by.” If I try to explain the wider plot of The Sparsholt Affair, and the half-tangled lives of a cast of supporting characters who flit in and about without too much consequence, it all begins to fall apart. In the fourth section, as the book begins—very slowly—to wind down, Johnny is living a relatively untroubled life in London as a moderately successful portrait painter. He’s a vegetarian. He fathers a child with a lesbian couple. He has a long-term partner called Pat, of whom we only really glimpse his “broad back and hairy thighs and long fat member, retiring now after a hard half-hour’s work,” and who later dies, of cancer, essentially in a footnote.