• print • June/July/Aug 2013

    Flipping through the imposing art book that accompanies the Metropolitan Museum of Art Costume Institute’s spring exhibition, which explores punk rock’s influence on fashion, is like hearing your favorite Screamers song played in a mall. First, you feel bad—it’s more proof that everything gets sold out. Then you suspect that it’s some kind of dada trick. How else to explain sentences like this: “In punk’s spirit of revolution, Moda Operandi is the first online luxury retailer to offer unprecedented access to runway collections from the world’s top designers.” In punk’s spirit of revolution, my first instinct was to set the

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  • print • June/July/Aug 2013

    At a recent conference on media reform, I found myself talking to a professional activist and technologist. He told me about some online images—customized for sharing on Facebook—that civilians in Syria had circulated to protest Bashar al-Assad’s violent crackdown on dissent in their country. The images were both powerful and deeply moving, he told me. “It’s like we are building a giant empathy machine,” he said, referring to the Internet. The effortless sharing of memes, he explained, was a crucial step toward a more peaceful world. In fact, he went so far as to insist that the invasion of Iraq

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  • print • June/July/Aug 2012

    A mutual friend once told me that the most important thing to know about Andy Cohen—the Bravo exec, on-air late-night host, and Real Housewife wrangler—is that his parents loved him very much. He grew up kind, and expecting good things from the world.

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  • print • June/July/Aug 2012

    It all began with the Los Angeles kimchi taco truck. Rumors of this previously unimaginable and yet obviously brilliant invention began to float into our Brooklyn home from the West Coast sometime in 2009. My husband, a native Angeleno—and thus a taco snob—as well as a kimchi fanatic, immediately began trying to find a reason […]

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  • print • June/July/Aug 2012

    Sanja Iveković, Make Up—Make Down, 1978, stills from a color video, 5 minutes 14 seconds. WHEN A RETROSPECTIVE as significant as Croatian artist Sanja Iveković’s “Sweet Violence” doesn’t travel at all, a comprehensive catalogue becomes all the more important. Fortunately, this eponymous summary of the show—which New York’s MoMA featured this past winter—delivers the crucial […]

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  • print • June/July/Aug 2012

    IN THE TWENTY-TWO YEARS between the day the 1923 Kanto earthquake razed Tokyo and the months in which American bombers demolished it anew, modernity arrived in Japan. Ushered in by the creeping popularity of Western fashions, the rise of mass communication and transit, and the Europeanizing of urban public life, the “brittle years” of the […]

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  • print • June/July/Aug 2012

    Lee Friedlander, Tucson, 2011. ALTHOUGH SCULPTED FROM PLASTIC instead of marble, mass-produced, and typically equipped with both arms, store-window mannequins share an aesthetic as well as a sociological lineage with the Venus de Milo. Depictions of feminine beauty whose aspect and proportion proffer benchmark ideals have been around a long time—no doubt many Athenian women […]

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  • print • June/July/Aug 2012

    The presidential election of 1964 unfolds across a few colorless pages in Joshua B. Freeman’s American Empire, pitting a candidate who embraced “expansive state action” to “improve the quality of life” against a guy who opposed “the expanded functions the state had taken on during the previous three decades.” Circling back later, when the story has moved on to 1966, Freeman notes that some actor in California is still hanging around. Behold the elaborate flatness of this sentence: “Reagan, a one-time New Deal Democrat who over the years had moved to the right, came to national attention as a political

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  • print • June/July/Aug 2012

    Basque fascist poster designed by Arlaiz, ca. 1935. Last summer I was having coffee with a Spanish writer at a café in an upscale Madrid neighborhood just off the bustling Avenida Concha Espina. The thoroughfare is named after an insignificant twentieth-century author who supported Francisco Franco. As my colleague explained with a slight grimace, civic […]

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  • print • June/July/Aug 2012

    At its best, intellectual history is less the history of ideas than the history of thinking and of the social and cultural contexts in which thinking occurs—contexts that shape thinking and are, in turn, shaped by it. Joel Isaac’s Working Knowledge is intellectual history at its best. Isaac’s subject is the development of several of […]

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  • print • June/July/Aug 2012

    “Originally I intended to write a book about Harpo’s relation to history and literature,” remarks Wayne Koestenbaum on the first page of his fittingly zany, aphoristic, and meandering study of the great mime of Marx Brothers fame. “A tiny chapter on Harpo and Hegel. A tiny chapter on Harpo and Marx. A tiny chapter on […]

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  • print • June/July/Aug 2012

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  • review • May 31, 2013

    It is a Romantic delusion to suppose that writers are likely to have something of interest to say about race relations, nuclear weapons or economic crisis simply by virtue of being writers. There is no reason to assume that a pair of distinguished novelists such as Paul Auster and J. M. Coetzee should be any wiser about the state of the world than a physicist or a brain surgeon, as this exchange of letters between them depressingly confirms.

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  • review • May 30, 2013

    Superbly translated by Martin McLaughlin, these letters place Calvino in the larger frame of 20th-century Italy and provide a showcase for his refined and civil voice. His widow, the Argentinian Chichita Calvino, has been careful to exclude all personal and love letters, as Calvino was jealous of his privacy. I must confess a personal interest. In 1983, as a callow 22-year-old, I wrote to Calvino requesting an interview in Rome. To my amazement, he agreed. In his flat near the Pantheon he leafed through the many pages of questions I presented. “Troppo, troppo, too many,” he said.

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  • review • May 29, 2013

    There’s something confusing about the consensus around Alice Munro. It has to do with the way her critics begin by asserting her goodness, her greatness, her majorness or her bestness, and then quickly adopt a defensive tone, instructing us in ways of seeing as virtues the many things about her writing that might be considered shortcomings. So she writes only short stories, but the stories are richer than most novels. Over a career now in its sixth decade, she’s rehearsed the same themes again and again, but that’s because she’s a master of variation. She has preternatural powers of sympathy

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  • review • May 28, 2013

    What ethically challenged billionaire would not welcome the journalistic cosseting of Ben Mezrich? With each new book, Mr. Mezrich becomes increasingly adept at how to use his kid gloves. He is expert at making up conversations he did not hear, sexing up parties he did not attend, pumping up the thrills of getting rich quick and playing down the legal liabilities of characters who may have done a teeny bit of innocent law-bending or moral compromising on their ways to the top.

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  • review • May 24, 2013

    MICE LIVE IN OUR WALLS but do not trouble our kitchen. We are pleased but cannot understand why they do not come into our kitchen where we have traps set, as they come into the kitchens of our neighbors. Although we are pleased, we are also upset, because the mice behave as though there were something wrong with our kitchen. What makes this even more puzzling is that our house is much less tidy than the houses of our neighbors.

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  • review • May 23, 2013

    No one could have predicted on March 10, 2011, that the imminent Tōhoku earthquake, at magnitude 9.0, would be the greatest to hit Japan, or foreseen the giant tsunami that struck the Japanese coast minutes later. But that does not mean the subsequent meltdown of three reactors at the Fukushima Daiichi nuclear power station was unavoidable. The plant was built to withstand a big earthquake and survive a moderately sized tsunami, but a panoply of engineering errors—too-short sea walls, backup diesel generators installed in locations likely to flood, pools overcrowded with spent fuel rods, and a main control room insufficiently

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  • review • May 22, 2013

    In her account of her years in Teach for America, the lesson Michelle Rhee wants to impart is that success in the classroom takes time to achieve and depends mainly on discipline and toughness. In her first year she failed miserably: she was a nervous wreck who couldn’t control her classroom. But on the first day of her second year, she writes, she took a new approach: “I wore my game face. No smiles, no joy; I was all thin lips and flinty glares.” She describes making her students line up and walk into the classroom four times, until they

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  • review • May 21, 2013

    Vladimir Nabokov was eighteen when the Bolshevik Revolution of October 1917 made his wealthy family’s continued residence in Petrograd (as St. Petersburg was renamed at the start of World War I) impossible. They fled first to the Crimea and then, in 1919, to London. The following year they settled in Berlin, where in 1922 Nabokov’s father was assassinated, more by accident than design, by extreme right-wing Russian monarchists: they were attempting to kill another Russian émigré politician, Paul Milyukov. V.D. Nabokov bravely seized and disarmed one of the gunmen, and pinned him down, but was then shot three times by

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