• review • August 8, 2012

    The first rule is that there are no rules. Anything I might say about or against the derivation of movies from great works of literature is gainsaid by what’s at the top of my all-time-top-ten list, the adaptation of King Lear, by Jean-Luc Godard (and, high on the list that follows it, of younger filmmakers’ greats, Rainer Werner Fassbinder’s Berlin Alexanderplatz). And, of course, some of the very best filmmakers, Jean-Marie Straub and Danièle Huillet, have made a lifetime’s work of literary adaptation. That said, the practice—which has burst into the headlines again with the news that Baz Luhrmann’s take

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  • review • August 7, 2012

    The Internet, originally known as ARPAnet, was first constructed for specialized use by educational and government professionals, but when the idea took off, the small infrastructure could not handle the sudden explosion of users. So in the 1990s, private companies built huge amounts of their own Internet infrastructure, mostly across a few locations in the United States and Europe. Wired journalist Andrew Blum’s first book, Tubes, is an entertaining travelogue that takes him through these sites—from Silicon Valley conference rooms to Oregon datacenter warehouses to ships laying underseas cables—in search of the physical places that create the virtual space we

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  • review • August 6, 2012

    The writer Emma Straub has 9,192 Twitter followers. That might seem like a lot for an author whose first novel, Laura Lamont’s Life in Pictures, hasn’t even come out yet. But Emma Straub is really good at Twitter. She’s funny and charming and evinces great enthusiasm for the books and stories of the fellow authors and critics in her social sphere. Outside of Twitter, Straub writes for many bookish publications, she’s the daughter of the novelist Peter Straub, and she runs a small design outfit with her husband that’s made posters for everyone from Passion Pit to Jonathan Lethem.

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  • review • August 3, 2012

    Editing The New Yorker is a little like being a controlled demolitions expert. In both jobs, you are entrusted with valuable, long-standing structures and explosive material, and given the responsibility of ensuring that targets are properly selected, and that explosions leave no collateral damage. This characterization may raise the eyebrows of anyone who automatically dismisses the weekly magazine as a bastion of upper-middle class triviality, the home of tepid and watery poetry, cartoons bafflingly dependant on Manhattan coterie knowledge, short stories that obsessively focus on the minutiae of domestic life, and mildly left-of-center political and cultural commentary. The tradition of

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  • review • August 2, 2012

    Journalists are the livers of society, organs that break down the myriad poisons of war, revolution, and labyrinthine legal complexity for a body politic. They are also the livers in another sense—their professional function is to go out and live, to experience, explain, bear witness, and provide insight. On a spectrum of literary occupations ranging from the ideal of the hermetic, solitary writer, fully engaged with the imagination all the way to the the over-socialized drinker and raconteur on the other, most journalists fall squarely in the middle. These great compromisers are trapped forever in limbo between living and writing.

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  • review • August 1, 2012

    For those who are dreading the next two weeks – for those for whom the last seven years, since the dramatic announcement of London’s appointment as the host city for the 2012 Olympic Games, have been a torment – the French academic Marc Perelman’s polemic could not be more perfect; an ideal accompaniment, perhaps, to a fortnight that might best be spent, for the naysayers, doubters and outright opponents, in an isolation tank. Not that Barbaric Sport confines its withering contempt to the Olympics – although it does, somewhat opportunistically, lead off with them; football also comes in for a

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  • review • July 31, 2012

    A young doctor drives through the California desert on his way to a family wedding in Arizona. He stops at a drive-in. A pack of teenagers taunts him. He’s more anxious than the situation seems to justify. Back on the highway, he passes a young girl, a hitchhiker. At first he ignores her, but qualms of conscience prompt him to turn around and pick her up. She says her name is Iris Croom. He wants to drop her in Blythe, but she finagles a ride all the way to Phoenix. She asks him to perform an abortion. He angrily refuses,

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  • review • July 30, 2012

    It is odd to think that we live in a time when the college model may be in the process of breaking apart. So much suggests that college has never been more successful. Record numbers of students graduate every year. Every graduating class is more diverse than the one that preceded it. Foreign students flock to American quads. Harvard economists tell us that the college degree has never been worth more, relative to the high school degree, than it is today. Bill Gates and President Obama call for a doubling of the proportion of young adults with college degrees over

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  • review • July 27, 2012

    As a species of literature, art gallery exhibition catalogs usually fall into one of three categories, none of them good. There’s the perfunctory. There’s the expensively vacuous, the kind that Marc Spiegler, a director of Art Basel, has described as simply another rite in commercial art’s “elaborate validation ritual.” And then there’s the nonexistent, which is too often the case.

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  • review • July 26, 2012

    Adbusters’ Kalle Lasn came up with the idea of Occupy Wall Street, and, crucially, its name in 2011. But the year before, political columnist Timothy Noah—once of Slate, now at the New Republic—explained the nature of the income inequality problem that Occupy would later decry. “The United States of Inequality,” Noah’s widely circulated, award-winning series of Slate articles on income inequality in America, outlined exactly what separated the 99% from the 1%, and who was to blame, months before OWS got going.

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  • review • July 25, 2012

    Bookstores, libraries, and in some cases writers themselves have long treated “genre” and “literary” fiction as separate categories that belong on separate shelves. Brian Evenson, whose dark and masterful fiction has been published by both literary and genre presses, is a writer who exposes the limitations of this distinction. Genres are important to the degree that they offer frameworks for writers to participate in and draw strength from. They are, however, only one way of grouping literature. Another way is to think about the effects that a work produces. If there is one thing that unites Evenson’s work in Windeye—his

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  • review • July 24, 2012

    Limited to the rock scene, the book might have derailed in a fit of nostalgia. But Love Goes to Buildings on Fire lures readers interested in one genre and keeps them hooked to learn about the others.

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  • review • July 23, 2012

    In The Swerve, Greenblatt traces the history of an ancient manuscript written in poetic meter that argues for the materialist doctrines of the Hellenistic Greek philosopher Epicurus. The poem, known as De rerum natura (On the Nature of Things) was written in the first century BCE by the Roman poet and philosopher Lucretius. Unfortunately, we know next to nothing about Lucretius; his personal story has been lost to history. His manuscript was almost lost as well, in the great obliteration of ancient knowledge that came with the fall of Rome.

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  • print • June/July/Aug 2012

    Tom Bissell’s new essay collection, Magic Hours, opens—in what can be taken as a challenge or a gesture of self-justification—with “Unflowered Aloes,” his 2000 meditation on the tenuousness of literary immortality. Why do some works survive, Bissell asks, while others are lost to posterity? The reader may note that this is a book of previously published magazine work, rescued from the recycling bin and bound in a volume as Essays on Creators and Creation.

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  • review • July 19, 2012

    “You may all go to hell, and I will go to Texas.”

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  • review • July 18, 2012

    At the end of Beasts of No Nation, Uzodinma Iweala’s 2005 novel, a rescued child soldier in Africa finds himself in the care of a “white woman from America who is coming here to be helping people like me.” Instead, she seems to be helping herself: “She is always saying to me, tell me what you are feeling. Tell me what you are thinking.” As the young boy, Agu, recounts some of the horror he’s experienced, he realizes “she is not even knowing what war is….When I am saying all of this, she is just looking at me and I

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  • print • June/July/Aug 2012

    If David Wojnarowicz were alive today he’d be turning fifty-eight in September. Who knows what his art would look like by now? But there is every reason to think he would have been one of the relative few to have graduated from the hit-or-miss East Village art scene of the 1980s and gone on to greater glory. His stencils, icons, symmetry, hot colors, homoerotic imagery, and street art all remain visible in the work of others now. His ghost is just about discernible around the edges of stuff by Gilbert & George, Banksy, Shepard Fairey, Barry McGee, and I’m sure

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  • print • June/July/Aug 2012

    ExxonMobil, the worlds’s biggest and most profitable corporation, is used to being viewed as the bad guy. Every time recession-strapped Americans face new spikes in the cost of gas, the oil giant’s profits ratchet up even more. In 2008, record-high gasoline prices were the direct driver of ExxonMobil’s forty-five billion dollars in profit, the largest total in corporate history.

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  • review • July 12, 2012

    What was troubling Julian Assange when he made a dash for friendly extra-territorial space? His detractors argue that it’s the usual story, to do with his propensity to see himself as the centre of the universe, and the target of an improbable plot to lock him up

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  • review • July 11, 2012

    While it is widely accepted that science influences literature, it is a much dicier proposition to suggest that literature influences the sciences. Even physicists, who frequently declare their equations as beautiful as poetry, are rarely willing to cop to being culture-bound. According to English professor Barri J. Gold, however, physics—and nineteenth-century physics in particular—is heavily indebted to literature, and vice versa. In ThermoPoetics: Energy in Victorian Literature and Science, Gold argues that some of the universal truths that eventually ended up codified as “the laws of thermodynamics” were presaged by poets and other writers, and that the conversation swirling around

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