• review • September 04, 2009

    Homer & Langley by E. L. Doctorow

    Homer and Langley Collyer, two human relics from Edith Wharton’s New York, became legendary in late Spring of 1947 when they were discovered dead in their decaying Harlem town house on upper Fifth Avenue, immured behind a reported hundred tons of carefully hoarded debris. Most of that tonnage comprised books, as well as magazines and newspapers from as far back as a quarter century, stacked ceiling high to create a maze of tunnels, culs-de-sac, and trip-wired booby traps—one of which had collapsed on Langley, killing him. (Homer, the first brother to be found, died of apparent starvation;

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  • review • September 03, 2009

    I Am Not Sidney Poitier by Percival Everett

    In his 2001 novel, Erasure, Percival Everett conjured up the unforgettable Thelonius “Monk” Ellison, a middle-class writer of challenging fiction who enjoys a decidedly quiet (think polite applause) career until, fed up with a publishing industry and reading public interested only in “authentic” black voices and “authentic” black experience, he writes a pseudonymous send-up of street fiction that he thinks is absurd and that the rest of the world thinks is genius.

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  • review • September 02, 2009

    Essays by Wallace Shawn

    Artists are in the business of simultaneously de-familiarizing and re-familiarizing us with the world around us. "Habit is a great deadener," Samuel Beckett explained, and art lends us a new pair of spectacles with which to view reality anew.

    Reading writer and actor Wallace Shawn's "Essays," a hodgepodge of short pieces on war, theater, sex, art and privileged guilt, with interviews of Noam Chomsky and poet Mark Strand thrown into the mix, I was reminded of this essential function of creative dreamers, be they playwrights, composers or painters. All, ultimately, are anthropologists of alien

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  • print • Sept/Oct/Nov 2009

    Eminent Edwardians

    The prolific A. S. Byatt has been publishing novels since the mid-’60s (her first, The Shadow of the Sun, came out in 1964), but it wasn’t until 1990, when she won the Booker Prize for Possession—the story of a pair of contemporary scholars whose research on two Victorian poets reveals an extramarital affair between them—that she became an international (literary) household name. But Dame Byatt, who was awarded the DBE ten years ago (and the CBE nine years earlier), credits not the Booker Prize but the Web with her considerably raised profile: “Everything I say or write is now perpetuated and

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  • print • Sept/Oct/Nov 2009

    Tempest Tossed

    It has now been four years since the storm surge from Hurricane Katrina breeched the levees in and around New Orleans, producing the most widespread destruction that a major American city has suffered in the past century. At the time—nearly one year into George W. Bush’s second term—the woeful government response appeared to distill the worst features of GOP small-government ideology, while dramatizing Bush’s seeming indifference to the fortunes of the black, the poor, and city-dwelling Americans. Today, however, memories of Katrina and its aftermath have faded, and the moral of the story has

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  • print • Sept/Oct/Nov 2009

    Space Odyssey

    David Mazzucchelli is not a casual cartoonist. There are no accidents in his comics world; he takes every element into account, from ink and color to paper and binding—which makes the apparent spontaneity and easy naturalism of his work both beguiling and convincing. His pictorial world has expanded over the course of two decades and across a variety of publications and genres, from the noir realism of Daredevil (1984–86) and Batman: Year One (1986–87) to the fablelike tales of Rubber Blanket (1991–93) to the epic character study that is his first graphic novel, Asterios Polyp. The key to these

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  • print • Sept/Oct/Nov 2009

    Changing Places

    It is unlikely that anyone has ever confused a page of Thomas Friedman’s with one of Immanuel Kant’s, but between them it is possible to triangulate a prevailing sensibility of the past two decades. Call it managerial cosmopolitanism. It celebrates the idea of a global civil society, with the states cooperating to play their proper (limited) role as guardians of public order and good business practices. The hospitality that each nation extends to visiting foreign traders grows ever wider and deeper; generalized, it becomes the most irenic of principles. And so there emerges on the horizon of

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  • print • Sept/Oct/Nov 2009

    The Neocon Bible

    The neoconservative polemicist Norman Podhoretz has chosen an odd time to urge Jews to become Republicans on the grounds that they’re endangered most by the left and their own liberalism. He acknowledges that 78 percent of Jews voted for Obama, but not that Jewish neocons such as Ed Koch and David Brooks defected from the GOP as the populism they’d tried to rouse and channel took a sinister turn. Worse, old-line conservatives, like the late William F. Buckley Jr., have muttered that neocons are conservatism’s misfortune. To update neocon elder Irving Kristol’s quip, today a liberal may be a

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  • print • Sept/Oct/Nov 2009

    Atrocity Exhibition

    The fall of Bataan on April 9, 1942, remains the single largest surrender of United States military forces in history, with roughly seventy-six thousand soldiers (most of them Filipino allies) handed over to Japanese captors. Japan’s attack on America’s Clark Air Base in the Philippines destroyed an entire airfield of unprotected planes and unprepared men. While the Pearl Harbor attack of four months earlier is universally acknowledged as a watershed moment of US involvement in the Pacific theater, Bataan, with its less heroic mix of humiliation at the hands of the enemy and betrayal by those

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  • print • Sept/Oct/Nov 2009

    What’s It All Mean: William T. Wiley in Retrospect

    Inspired by a low-key dadaism, California artist William T. Wiley has been making densely allusive, humorously inflected paintings, sculptures, and films for fifty years. The vividly cartoonish, Rube Goldberg–like imagery in Wiley’s creations serves a very literary sensibility—his paintings, prints, and watercolors tell stories and employ wordplay. A series of drawings and watercolors from the early ’80s addresses environmental topics like acid rain and Three Mile Island, as well as overtly political themes such as nuclear proliferation, apartheid, and capital punishment. The tension between

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  • print • Sept/Oct/Nov 2009

    The Tyranny of E-mail: The Four-Thousand-Year Journey to Your Inbox

    We live in a culture devoted to technology, and yet most of us cannot find the time to consider its history or its consequences. John Freeman has made the time, and he has thought carefully about how we have gotten here. The average office worker sends and receives some two hundred e-mails a day. Sixty-five percent of Americans spend more time with a computer than with a spouse. Our minds are frequently distracted by a buzz, beep, or blink of light from a handheld device. Our eyesight is getting poorer and our attention spans shorter. But in The Tyranny of E-mail, Freeman takes pains to point

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  • print • Sept/Oct/Nov 2009

    Civic Passions: Seven Who Launched Progressive America (and What They Teach Us)

    Current economic and social conditions—growing income disparity, battles over immigration, corporate titans’ sway over political affairs—have led many contemporary critics to point out correspondences between the United States of the past two decades and the nation of the late nineteenth century’s Gilded Age. For optimists pursuing a similar analogy, the recent election of a community organizer as president, his push for health-care reform, and this summer’s minimum-wage hike recall the Progressive response to Gilded Age industrial capitalism. Cecelia Tichi trenchantly summarizes such comparisons

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