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Omnivore

The posthumanist paradigm shift

Peter Binipom Mpuan (Twente): Human Identity in a Cyborg Future: Philosophical Anthropology and Medical Nanorobotics. Joanna Diane Caytas (Columbia): Transhumanism: A Function of Hybrid Nanomaterials? Anthony Lack (JCHS): Posthuman Dignity in a Transhuman World. Woody Evans (Texas): If You See a Cyborg in the Road, Kill the Buddha: Against Transcendental Transhumanism. As the world draws closer and closer to the day of Christ’s return, Britt Gillette takes a look at transhumanism in Bible prophecy


Paper Trail

In The Baffler, Evgeny Morozov writes about the problems of technology criticism (he thinks it is willfully oblivious to political and social realities), and explains why he’s decided to abandon the profession: “For a long time, I’ve considered myself a technology critic. Thus, I must acknowledge defeat as well: contemporary technology criticism in America is

Syllabi

Andre Dubus's best characters

Bibi DeitzAndre Dubus's literary superpower is to hit upon that one thing about a character that makes him him, or her her. And in so doing, with subtle, clever details—breadcrumbs on the trail to the nucleus

Daily Review

Girl in a Band

Kim Gordon has been the object of many a projective fantasy. As she writes in her appealingly melancholy, nicely open-ended memoir, Girl in a Band, she has perhaps most often been seen as "detached, impassive, or remote," a woman "nothing could upset or hurt."

Interviews

Jacob Rubin

Writing fiction about an impersonator is like playing Russian roulette with an allegory gun. Those who survive, whose books don't lapse into neat parables of the process of writing, tend to be brilliant. Examples include George Saunders (CivilWarLand in Bad Decline), Tom McCarthy (Remainder), and Pynchon (the reenactment of Alpdrucken in Gravity's Rainbow). The latest is Jacob Rubin, with his new novel The Poser, about the rise and fall of a gifted impressionist.

Appreciation

Repetition Compulsion

Namara Smith

Elena Ferrante is often asked about the classical influences in her work, and reading her early novels you can see why. They are strikingly compressed and spare, set largely in enclosed, almost anonymous, spaces that evoke the stage of a Greek drama, their focus turned inward. The Neapolitan series takes a different tack, resembling not the claustrophobic Greek tragedy but the expansive epic.

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