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Omnivore

Inside the Ebola wars

Lawrence O. Gostin (Georgetown), James G. Hodge Jr. (ASU), and Scott Burris (Temple): Is the United States Prepared for Ebola? Richard Preston goes inside the Ebola wars: As the epidemic widens, the virus is mutating and geneticists are racing to keep up. Within the escalating debate over how to manage potential threats to public health, the line between vigilance and hysteria can be blurry. Yes, Ebola is scary — but the system is working. To put it bluntly: We’ve entrusted our national


Paper Trail

At Poynter, Andrew Beaujon has posted an opinion piece about three journalism schools that have rescinded invitations to journalists due to fears of Ebola. After quoting the statements explaining the cancellations, Beaujon writes: “‘Caution,’ ‘questions,’ ‘sensitive’—these are all apparently synonyms for willful disregard for facts, which is a curious fit for journalism schools, institutions that purportedly

Syllabi

Sextet

Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

The Secret History of Wonder Woman

The story of William Moulton Marston, the Harvard-trained psychologist, inventor of the first lie-detector test, and creator of Wonder Woman for DC Comics, is at once inspiring and disheartening. His unlikely career shows us (among other things) that the qualities that make it possible to innovate—swagger, cleverness, tenacity—are the same ones that can render a person hopelessly out of sync with the reigning strictures of the times.

Interviews

Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?

Cinema

Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and

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