• print • Sept/Oct/Nov 2016

    THE PHRASE AHEAD OF THEIR TIME is often thrown around but almost never accurate or meaningful. There have been only a handful of writers and artists—the likes of Emily Dickinson, Laurence Sterne, Sun Ra, and Van Gogh—whose work became deeply consonant with the culture long after its completion. For instance, Sterne’s metafictional Tristram Shandy is a twentieth-century novel published in the middle of the eighteenth; the compressed grammar and linguistic materiality of Dickinson’s poems still fascinate Language poets. Add to any such list of visionaries the Swedish painter Hilma af Klint. Born

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  • print • Sept/Oct/Nov 2016

    Unfree Radical

    As almost anyone over age fifty and almost no one under age thirty will remember, on February 4, 1974, Patricia Hearst was kidnapped from her Berkeley apartment by a small, strange group that called itself the Symbionese Liberation Army. The SLA was less an army than a club; it consisted of one black man and fewer than a dozen young white men and women; its most cogently stated aim was to bring “death to the fascist insect that preys upon the life of the people.” At the time of her kidnapping, Hearst was nineteen years old. A granddaughter of William Randolph Hearst, the real-life Citizen Kane

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  • print • Sept/Oct/Nov 2016

    Still Bill

    Few US presidents have done enough of any significance once they were out of office to rate books devoted to their post–White House careers. Nixon had Monica Crowley to play Boswell-that-ends-well, Jimmy Carter’s life and good works after 1981 will certainly deserve a fat tome or two, and I’d buy art critic Peter Schjeldahl’s (a guy can dream) George W. Bush: The Painter of Modern Life in an eyeblink. As usual, though, Bill Clinton is sui generis, comparable only to Teddy Roosevelt in his outsize presence and ongoing political impact sixteen years after his presidency. Hence Joe Conason’s nicely

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  • print • Sept/Oct/Nov 2016

    Fight Grub

    Spoiler alert: I made the Big Fucking Steak. Of course I did. Because of all the recipes in Anthony Bourdain’s new cookbook, Appetites (Ecco, $38), it has the most Bourdainian recipe title, stamped in huge letters at the top of the page and preceded by a photo spread of an enormous dog in profile, jaws wide open and teeth glistening, about to pounce on a piece of raw meat. “Big Fucking Steak” is more like a mini-lecture than a recipe. It doesn’t tell you what cut of meat to buy (“look for marbling”). It doesn’t tell you what cooking method to use (Bourdain is agnostic when it comes to grilling

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  • print • Sept/Oct/Nov 2016

    Artful Volumes

    In the run-up to the holiday book-buying season—once the lifeblood of trade-art-book publishing—high hopes are again being pinned on the oldest of art-book genres: collection surveys, nine- or ten-pound wonders that purport to give us a deeper understanding of a museum’s “masterpieces.” That devalued word regains currency in THE PRADO MASTERPIECES (Museo Nacional del Prado/Thames & Hudson, $125), a comprehensive look at the holdings of one of the world’s greatest museums of European painting. Collection-survey books often rely on recycled photography and texts, and the Prado book is no exception.

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  • print • Sept/Oct/Nov 2016

    The Gritterati

    Tama Janowitz’s Slaves of New York (1986)—the occasionally brilliant but ultimately uneven collection of twenty-two stories she wrote between the ages of twenty-three and twenty-eight—sowed her literary reputation as the lone woman in the “literary Brat Pack.” In fact she shared little with McInerney and Ellis that wasn’t cosmetic: youth, the 1980s, and a tendency to write about conspicuous consumerism in a way that made realism read like satire and vice versa (this wasn’t a trait unique to the Brat Pack—The Bonfire of the Vanities was published in 1987). The book party for Slaves spawned a

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  • review • August 30, 2016

    Brazillionaires: Wealth, Power, Decadence, and Hope in an American Country by Alex Cuadros

    By nearly all accounts, Rio de Janeiro’s Summer Olympics were not as bad as they could have been. In spite of green pool water, Ryan Lochte’s lies, and terrible American TV ratings, there were a lot of people who made a lot of money. Brazillionaires, a recent journalistic account of Brazil’s billionaire class, is a capable and thorough examination of the kinds of Brazilians who profited from the Games. The book chronicles the accumulation, entrenchment, maintenance, and expansion of the country’s largest fortunes and business empires.

    Take, for example, billionaire landowner Carlos Carvalho.

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  • excerpt • August 26, 2016

    The Art of Advice-Giving

    Advice is so much more enjoyable to give than it is to receive that its long flourishing as a genre—from the conduct books and periodicals of the seventeenth and eighteenth centuries to the current plethora of columns, livechats, and podcasts—could seem mysterious. Of course, watching other people being told what to do might be the most fun of all, which surely helps account for the enduring appeal of the advice column, and explains why living online seems only to enhance that appeal. Yet the genre is also unusual in the opportunities it offers a writer, in its combination of surprise and

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  • review • August 26, 2016

    Here I Am by Jonathan Safran Foer

    Jonathan Safran Foer is the Louis C.K. of the Jews. “I feel like America is the world’s worst girlfriend,” Louis says in one of his routines. “When somebody hurts America, she remembers it forever. But if she does anything bad, it’s like, ‘What? I didn’t do anything.’” Foer, too, likens romance to world events. In his new novel, Here I Am, he compares the dissolution of a marriage to a devastating earthquake in Israel. But where Louis plays this type of hyperbole for laughs, we are never quite sure how to react to Foer’s histrionics—he’s both the teller of the joke and the world’s worst

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  • review • August 25, 2016

    House Mother Normal by B.S. Johnson

    Avant-garde writers tend to think that their work is unpopular because it is difficult. I tend to think there is another reason: most avant gardists sound like total jerks. They’re always telling you the things you like are bad and old, and that in order to remain relevant you need to like the new, innovative thing they’re doing. If you enjoy reading a realist novel with an engaging plot, character development, and sharp dialogue, you must be stuck in the nineteenth century. If you like imagery in your poetry, you are basically a fascist. To deny this is to demonstrate your lack of understanding,

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  • review • August 23, 2016

    Where the Death Penalty Still Lives

    On a Saturday evening in July 2013, just before 6:30, James Rhodes was recorded on a surveillance camera walking into a Metro PCS cellphone store in Jacksonville, Fla. He was wearing a black do-rag and a blue bandanna, which he pulled over his nose and mouth. Shelby Farah, the store manager, stood behind the counter. Rhodes pointed a gun at her and demanded the money in the cash register. Shelby gave it to him. Then Rhodes shot her in the head. She was 20 years old. He was 21.

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  • review • August 22, 2016

    Did I Kill Gawker?

    It feels a bit strange to say this now, but in the spring of 2014 there was no better place to work than Gawker. For a certain kind of person, at any rate — ambitious, rebellious, and eager for attention, all of which I was.

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