Capitalism is eating its young. It’s only feeding us avocados to fatten us up first.
I hate travel (ethnography), yet here I am (philosophy).
The happy ending in It is that a group of kids beats a clown to death. Today that qualifies as wishful thinking.
November 6, 2017
Millennial habits so often mocked and belittled in the press are the survival strategies of a demographic “born into captivity.”
The summation Kids These Days gives us is harrowing: here is a generation hurrying to give in to the unremitting, unforgiving commodification of the self. Malcolm Harris predicts a future of debt servitude, confinement for the “malfunctioning,” worsening misogyny (though his gender analysis is less coherent than the rest of his argument), and total surveillance. Millennials, that is, are the first generation to live in the dystopia to come.
Gone is the task of providing “equipment for living,” in the words of Kenneth Burke.
We are too insurmountably human to know how cultural, how intentional, how meaningful, the nonhuman world might be.
June 15, 2017
The radical and perpetually unpredictable voice of Percival Everett
Neglect is a fate all experimental writers risk, but if they happen to be black it can seem almost impossible to avoid. Everett always intended to chart his own course. He picked the novel up where Ishmael Reed had taken it, but pivoted away from Reed’s zaniness toward a prismatic allegorical realism, a constant reinvention of form designed to grapple with the vertiginous ends of America’s violent and often contradictory racial, economic, geographic, and sexual epistemologies—a project consonant in many ways with Wallace’s—but evidently not one that could generate the same kind of popular appeal.
April 26, 2017
Recent and not-so-recent music
There is perhaps no working musician in whose case the asymmetry between critical accolades and actual musical content is so steep and acute, and so misleading. Stephin Merritt’s music is flat, gray, unmemorable, and “melodic” only in most contrived sense; his melodies seem to scream “I am writing a song in a usually disposable medium that is usually meant for mere entertainment but I am smart and special and this is meant to be real art.”
April 24, 2017
On the Fast and the Furious movies
Every film franchise is a testament to growth and conquest. In the case of the Marvel movies, that growth is exponential and expanding: movies beget more movies, more spinoffs, more series that emerge from spinoffs. What sets the Fast and the Furious series apart from franchises like this—at least for now—is its habit of folding all that hot-media-property energy back into itself, making the movies all the more strange and intense.
On Donna Haraway
By the end of the book, we’ve learned all manner of detail about the Acacia tree genus, made up of fifteen hundred species, living in climates ranging from desert to tropics and found in ice cream, beer, and postage stamps. We learn about the Pimoa chthulu spider, Haraway’s neighbor in the North Central California redwoods and another inspiration for the Chthulucene. We learn about the history of Premarin estrogen tablets, made out of horse urine, and their effects on both midcentury reproductive politics and Cayenne Pepper’s bladder.
March 31, 2017
Some recent video games
Sometimes all you need for a good game is one idea. Superhot is a first-person shooter “where time moves forward only when you move.” If you stand still, so does time, letting you ponder oncoming attacks at leisure and line up every shot perfectly.
March 29, 2017
On Ottessa Moshfegh
Reading Homesick for Another World isn’t unlike the experience of walking through a Diane Arbus retrospective. In Susan Sontag’s words, Arbus’s work “chooses oddity, chases it, names it, elects it, frames it, develops it, titles it.”
February 24, 2017
The post-classic French musicals that do away with singers and dancers (A Woman Is a Woman) or emphasize melancholy and failed romance against a backdrop of societal drabness (The Umbrellas of Cherbourg) serve as models for La La Land. Their use seems academic, befitting a director running for Student Council President of the Movies.
February 20, 2017
Andrés Neuman has written a guide to the literature of an entire continent in the guise of a travelogue.
“Our generation,” recounts Hans, the protagonist of Traveler of the Century, “was a borderline, we were the last to study before Metternich’s repression began, but we were also the first to lose faith in the Revolution.” Though Neuman himself is too young for this description to be a tidy analogy for him and his peers, it nicely sums up the position of his predecessors in Bolaño’s generation. Where the writers of the Boom had the example of the Cuban Revolution to give them hope, no comparably utopian project was available by the time their followers came of age.
December 22, 2016
Jane Jacobs cast her campaigns for urban justice as bids to restore an underlying common sense, not as transformations of the social order.
You might call Jacobs a Democratic Schumpeterian. Though she believed in the dynamism of markets and their propensity to push new, innovative work to grow, she wanted to stoke the egalitarian possibilities of this process within a society that favored established interests.
For Janowitz, the patriarchal American family is a prison, which subjugates and erases brilliant, sensitive women.
Some people will do anything to avoid writing.
December 12, 2016
On this episode of the n+1 podcast, Nausicaa Renner and Dan Piepenbring sit down with Paul Grimstad to talk about his essay “Never a Hippie, Always a Freak” on the life of musician Frank Zappa and the new biographical documentary Eat That Question.
December 5, 2016
Residents in luxury buildings are rarely swayed by the economic calculus of saving energy.
Western architects’ blindness to these problems appears to be inversely related to the number of times they proclaim themselves to be forging a golden age of green architecture, producing one LEED-certified monolith after another
November 30, 2016
On Norwegian Black Metal
A lot of the posed photos are about what you would expect: pig heads set on fire, shrouded band members looming in churchyards at night, or wielding chainsaws, or covered in prop blood. It’s either extremely silly, or very morbid and unholy, depending strongly on whether you also are a teenage boy.
October 26, 2016
It’s a strange thing to read about women ending pregnancies when you’re squarely in the middle of one.
This way of looking at the past tricks us into thinking the problem of human life is simpler than it is. It makes grotesque pain seem like the product not of individual or general cruelty, or the difficulty of being housed in a body, but of too little social awareness, of not enough light shone on secret lives.
October 12, 2016
At its best, Facsímil has the air of something written quickly and playfully in the heat of a second try.
Facsímil reveals—more clearly than Alejandro Zambra’s earlier work—that the self-conscious writer of metafiction needn’t shy away from history and the polity. The inward and the outward gazes can coexist.
August 23, 2016
Human depth isn’t Square Wave’s focus at all: people are present in the novel to direct us toward meaningfully original orchestrations.
Mark de Silva’s debut novel Square Wave uses fiction as a space to foreground philosophy. The result is a novel that can be maddening in its refusal to gratify through plot, character, or even theme, focusing instead on corresponding shapes of thought and social organization.
May 24, 2016
On Jean-Marie Straub and Danièle Huillet
Anecdotes swirl around Straub and Huillet. On set, they preferred phrases like “please” and “thank you” to “action” and “cut.” They considered over-dubbed sound, studio sets, and illusionistic cuts phony and cheap, but they praised filmmakers—including Chaplin, Mizoguchi, and John Ford—who used those devices particularly cannily. According to the filmmaker and critic John Gianvito, Straub once proclaimed that most films were “made to keep [the masses] in their place, to violate them, or to fascinate them,” and boasted that his and Huillet’s own movies “give people the liberty to get up and leave.”
On Boyd McDonald
The zine had a recurring string of subtitles — including “The Manhattan Review of Unnatural Acts” and “The New York Review of Cocksucking” — and taglines like “The Paper That Made New York Famous” and “Always coarse, never common.” Each contributor letter had a tabloid-style headline: “10 Hawaiian Dongs Unload on Tourist,” “Adultery in the Men’s Room,” “Mechanic’s Asshole Is Clean; Has Fragrance of Gasoline.” Sardonic commentary on the straight world and straight press was scattered throughout; McDonald liked to run errors he found in the New York Times, which he considered his main competitor.