• print • Apr/May 2019

    Cracking the Coder

    At some point while reading Coders (Penguin Press, $28), technology writer Clive Thompson’s enjoyable primer on the world of computer programmers, I started to note the metaphors being deployed by Thompson and his subjects to explain what it is they do, exactly. Coding, my incomplete list tells me, is “being a bricklayer,” “playing a one-armed bandit in Las Vegas,” “deep-sea diving,” “combat on the astral plane,” “oddly reminiscent of poetry,” “oddly like carpentry,” “like knitting and weaving,” “like being a digital plumber,” and “like the relationship of gardeners to their gardens.” It “

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  • print • Apr/May 2019

    Suzanne Lacy: We Are Here edited by Rudolf Frieling, Lucía Sanromán, and Dominic Willsdon

    “I still believe in the power of words to change culture.” That’s Lin Farley, a writer and former reporter, who coined the term sexual harassment in 1975. Farley was teaching at Cornell University at the time and, after conducting feminist consciousness-raising sessions with students, discovered that every young woman in the group had been fired or forced out of a job after rejecting the sexual advances of a male boss. Eleanor Holmes Norton, then the head of the New York City Commission on Human Rights, invited Farley to a hearing on women in the workplace. Farley used the phrase, the New York

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  • print • Apr/May 2019

    A Man Apart

    The polymath Dick Higgins once wrote that a book is “the container of a provocation.” With this in mind, he started Something Else Press in 1963, delivering a remarkable number of provocations to a mainstream audience before the imprint’s dissolution a decade later. Higgins packaged neo-avant-garde ideas in mass-market formats, producing books by contemporary artists like John Cage, Claes Oldenburg, Merce Cunningham, and Ian Hamilton Finlay. Something Else also reissued neglected works of the historical avant-garde in deluxe editions, notable among them Gertrude Stein’s vast, long-out-of-print

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  • print • Apr/May 2019

    Artful Volumes

    “The Golden Age of Hustlers,” a 1989 ballad by trans punk poetess Bambi Lake, is a loving tribute to the sex workers who plied their trade—and sacrificed their bodies—along San Francisco’s infamous Polk Street in the 1970s. The song, a frank portrayal of an outlaw era in Sodom by the Bay, is a glamorous yet melancholy jaunt down memory lane. So is KALIFORNIA KOOL: PHOTOGRAPHS 1976–1982 (Trapart Books, $40), a new collection by photographer Ruby Ray, who chronicled the denizens of San Francisco’s nascent punk and postpunk scenes. (Ray was also a major contributor to the seminal punk zine Search

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  • review • March 21, 2019

    Binstead's Safari by Rachel Ingalls

    Binstead’s Safari, a sort of housewife’s revenge novel by Rachel Ingalls, has no patience for interpretation. Like nearly all of Ingalls’s work, the book is heavily plotted but deceptively languorous, and its jumbling of the domestic and the bizarre places it just beyond the apprehensible. While on vacation with her husband, an academic who ignores and condescends to her, a browbeaten American named Millie decides to change her life. Her husband Stan Binstead, who has only reluctantly brought Millie along on his work trip, is too embarrassed to introduce her to his one London friend, and refuses

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  • review • March 19, 2019

    Sea Monsters by Chloe Aridjis

    You could describe Chloe Aridjis’s first two novels as mood pieces. Both have a Sebaldian preoccupation with the ways we are haunted by history; both are, as she has put it, “somehow impregnated or overcast with the weight of the past.” Her narrators—one, in Book of Clouds, a Mexican Jew living in self-imposed exile in Berlin, the other, in Asunder, a museum guard idling over London’s National Gallery—are withdrawn and perceptive. They occupy spaces palpitating with the past, with a violence barely glazed over by time, still detectable to those with the wit to pay attention. In Book of Clouds

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  • review • March 12, 2019

    The Last Englishmen: Love, War, and the End of Empire by Deborah Baker

    The acknowledgments to Deborah Baker’s crowded new book tell us how she came to write it. She had been looking for a way into a large subject, India and World War II. “Very few books had looked at the war and the decade that preceded it from the point of view of those for whom the Second World War meant finally getting out from under British rule.” A helpful librarian pointed her to the papers of John Bicknell Auden, elder brother of the poet Wystan Hugh and, as a distinguished geologist and cartographer, a figure of some interest in his own right.

    Auden’s papers took Baker into a world of

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  • review • February 28, 2019

    Mother Winter by Sophia Shalmiyev

    Partway through Sophia Shalmiyev’s new memoir, Mother Winter, the author returns to Russia in an attempt to find her mother, a woman who has been absent most of her life. Shalmiyev imagines that the journey will be beautiful: “I would book the trip during the famous white nights in June, when the bridges part over the canals and it is dusk at four in the morning, the city actually not being able to sleep so people become possessed; they make out on every corner and leave their spouses for anyone who winks at them. I wanted my three-note, sleepy, leveled and depressed but loyal boyfriend to wake

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  • review • February 12, 2019

    Mothers by Chris Power

    The fiction writer who is also a critic is cursed with the predicament of having strewn about the very tools for his own dismemberment. Hold up the analytic knives to a purely creative output, and the fruits of artistic labor too readily slacken and yield. Susan Sontag has often been castigated for writing novels that fail to meet her own exacting critical standards, but author-critics such as Edmund White, Lionel Trilling, Iris Murdoch, A. S. Byatt, and, more recently, James Wood have also been the subject of this particular jibe. How then, to court success when the stakes of one’s own making

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  • review • February 05, 2019

    Shooting a Revolution: Visual Media and Warfare in Syria by Donatella Della Ratta

    Not long before the Arab Spring swept across the Middle East and Northern Africa in 2010, Google CEO Eric Schmidt trumpeted a “coalition of the connected” as the antidote to authoritarianism. Schmidt claimed that “governments will be caught off-guard when large numbers of their citizens, armed with virtually nothing but cell phones, take part in mini-rebellions that challenge their authority.” Soon after, the idea of the smartphone-equipped rebel gripped the imagination of both the State Department and Silicon Valley, and institutional support and funding soon followed. Schmidt didn’t say then

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  • print • Feb/Mar 2019

    There Will Be Fake Blood

    The shooting of The Wild Bunch was not a pretty picture. If a film were made today the way Sam Peckinpah shot The Wild Bunch in Mexico in 1968, and if people found out, members of the cast and crew would be facing time in jail. The history of the film’s production fascinates because it was all so wrong. What happened encompasses many vices and several crimes, including manslaughter and statutory rape. It is an often repellent tale, a stew of toxic masculinity feeding a movie designed to dismantle the very myths about heroic cowboys, gun violence, and la frontera that it succumbed to as a

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  • print • Feb/Mar 2019

    Are Friends Electric?

    Victor Tausk was one of the more restless of the many bright young men and women surrounding Freud in the 1910s. Born into a Jewish family in 1879, he first studied law, practicing in Sarajevo, then Mostar, where he made his reputation defending a young Muslim woman accused of murdering her illegitimate child. The prosecutors had asked for the death penalty; he got her acquitted. He then moved to Berlin, setting out on a new career as a critic, which no doubt contributed to the nervous breakdown he suffered soon after. At the sanatorium he decided to study psychiatry, completing his medical

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