• review • February 15, 2012

    Ben Jeffery’s Anti-Matter is the kind of intelligent, sophisticated response to provocative work that affirms criticism’s value as art in itself. The book is ostensibly a long essay about the work of Michel Houellebecq, the controversial French novelist who recently took his country’s highest literary award for his latest novel The Map and the Territory, but really, Anti-Matter uses Houellebecq’s fiction as a platform for a series of reflections on the hazards of seeking meaning in art. A more rigorous, less stylized version of the kind of long critical essay usually associated with writers like Geoff Dyer and Pierre Bayard,

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  • review • February 14, 2012

    This Valentine’s Day, enthusiasts are expected to spend approximately $17.6 billion on romance-related goods—jewelry, cards, flowers and chocolates—a ten-year high, according to the National Retail Federation. That’s not even the whole picture, when you include all the other things that go along with the “perfect” romantic experience: heart shaped doohickeys, sexy lingerie, bikini waxes, fancy dinners, candle lit romantic massages for two, romantic getaways, puppies and couples counseling. Clearly, the economics of love is serious business.

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  • review • February 10, 2012

    From Hanne Blank comes a chewy piece of scholarship—Straight: The Surprisingly Short History of Heterosexuality (Beacon)—that puts a spin on the hip-hop catchphrase “no homo,” explaining that there was no hetero until social science and pseudo-science invented a need in the middle of the 19th century. Anyone who’s done time at a British public school or a progressive women’s college can tell you that matters of sexual orientation are not strictly either/or. But this book twirls that “/” with panache, spinning a generous handful of yarns about the stories we tell ourselves about sex, love, and identity.

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  • review • February 9, 2012

    Early in his biography of the defiantly unorthodox poet William Carlos Williams, Herbert Leibowitz makes it clear that he intends to be just as unconventional as his subject. In the book’s first chapter, Leibowitz, the longtime editor of the literary magazine Parnassus, mounts a sustained assault on “Asphodel, That Greeny Flower,” a love poem widely considered one of Williams’s great achievements, and the source of Leibowitz’s title. Leibowitz calls the poem “a false lyric that strays far from the vigorous speech melodies [Williams] pioneered” and sneers that its “hackneyed verse matches the insipid content.” The criticism here, however, has less

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  • review • February 8, 2012

    Five years ago, I flew to England to see the grand opening of something improbable: an attraction called Dickens World. It promised to be an “authentic” re-creation of the London of Charles Dickens’s novels, complete with soot, pickpockets, cobblestones, gas lamps, animatronic Dickens characters and strategically placed chemical “smell pots” that would, when heated, emit odors of offal and rotting cabbage. Its centerpiece was the Great Expectations boat ride, which started in a rat-infested creek, flew over the Thames, snaked through a graveyard and splashed into a sewer. Its staff had all been trained in Victorian accents and body language.

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  • review • February 7, 2012

    I first came to know William Gaddis at a writers’ conference in the Soviet Union in 1985. I had heard that he was shy and averse to publicity, but I found that this reputation was based only on his belief that a writer’s life and personality should be as little as possible associated with his work. As a conferee, he was both eloquent and precise.

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  • review • February 3, 2012

    Brazil’s capital city, Brasilia, conceived by modernist architect Lucio Costa, was built in the late 1950s on what had been an unpopulated desert. Costa envisioned a city in which urban design enabled the existence of an ideal society, a utopian notion that deflated when confronted with reality. Brasilia’s once futuristic archways now slouch toward violent suburbs riddled with decay and corruption.

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  • print • Feb/Mar 2012

    Isaiah Berlin split intellectuals into two groups: foxes, who know a great deal about many things, and hedgehogs, who know one big thing. But I wonder if there isn’t a third type, too, mysterious and misunderstood: the individual who knows a great deal about one thing—and that thing is herself. Narcissism has nothing to do with it. This is a specialty that usually signals deprivation: In the absence of other people, the self was all there was to study.

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  • review • February 1, 2012

    Leela, the young exotic dancer at the center of “Beautiful Thing,” is a genius of vulgarity. In this intimate and valuable book of literary reportage by Sonia Faleiro nearly every word out of Leela’s mouth is spit like a cartoon hornet. Few of these sentences, alas, are publishable here.

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  • print • Feb/Mar 2012

    On December 9, 2011, the ABC News program 20/20 aired a dramatic report from India, presented by the show’s Emmy Award–winning anchor Elizabeth Vargas. In an uncharacteristically long piece devoted to social issues in a foreign country not recently liberated from tyranny by an American invasion, the fifteen-minute segment set out to reveal what its title dubbed “India’s Deadly Secret.” The deadly secret in question—so secret that the Times of India has only mentioned it about six hundred times in the past two years, according to LexisNexis—is the propensity of Indian families to abort female fetuses: a disturbing and disturbingly

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  • print • Feb/Mar 2012

    IN 1995, AS MATTHEW BARNEY became famous for his opulent, surrealist film epic, video artist Alex Bag rose to stardom as a kind of anti-Cremaster, creating no-budget video art with little more than cheap wigs, bedsheet backdrops, appropriated television clips, and stuffed animals. In Untitled Fall ’95, Bag played a student at SVA, reporting on each semester in a satirical video diary, which she punctuated with sketches that featured warring toys, a fake phone-sex commercial, and Björk explaining how a TV works. Now, Bag’s first monograph has finally been published, as her work is absorbed into art-school curricula and newly

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  • review • January 31, 2012

    “Whatever I wrote was surrounded by rays of light,” a young Raymond Roussel told his psychoanalyst, Pierre Janet. “I used to close the curtains, for I was afraid that the shining rays emanating from my pen might escape into the outside world through even the smallest chink; I wanted suddenly to throw back the screen and light up the world.” Roussel was speaking literally, and Janet, who would treat Roussel for years, was taking notes.

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  • review • January 27, 2012

    Somebody always takes it about as far as it’ll go, and no one took the hard-boiled farther than Paul Cain. Cain’s entire contribution to the genre — a slim novel and 14 stories, some of which haven’t seen print since the 1930s — is now available as The Complete Slayers from Centipede Press.

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  • review • January 24, 2012

    I first heard of Patti Smith in 1971, when I was seventeen. The occasion was an unsigned half-column item in the New York Flyer, a short-lived local supplement to Rolling Stone, marking the single performance of Cowboy Mouth, a play she cowrote and costarred in with Sam Shepard, and it was possibly her first appearance in the press. What caught my eye and made me save the clipping—besides the accompanying photo of her in a striped jersey, looking vulnerable—was her boast, “I’m one of the best poets in rock and roll.” At the time, I didn’t just think I was

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  • review • January 23, 2012

    On a frigid January evening in 2009, a week before his Inauguration, Barack Obama had dinner at the home of George Will, the Washington Post columnist, who had assembled a number of right-leaning journalists to meet the President-elect. Accepting such an invitation was a gesture on Obama’s part that signalled his desire to project an image of himself as a post-ideological politician, a Chicago Democrat eager to forge alliances with conservative Republicans on Capitol Hill. That week, Obama was still working on an Inaugural Address that would call for “an end to the petty grievances and false promises, the recriminations

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  • review • January 20, 2012

    The accusation that Jews are a backwards, self-isolating tribe is one of the oldest tropes in the history of anti-Semitism. The idea goes back to Hellenistic times, wends its way through centuries European Christendom, and now sneaks into contemporary debates about Israel. Ancient Greek historian Hecataeus of Abdera, characterized Judaism as “a misanthropic and inhospitable way of life,” and former Ku Klux Klan Grand Wizard David Duke, writes that “no group is more ethnocentric and more organized for their perceived interests than are Jews.” But vile as such pronouncements are, Orthodox Jewish separatism has not helped eliminate them. In North

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  • review • January 19, 2012

    The term poète maudit, or “cursed poet,” was coined by Paul Verlaine. His little book Les poètes maudits (1884) interleaved his own honorific prose with poems by some of the poets he most esteemed but whose very greatness assured that they were known only to the cognoscenti. It was their obscurity—society was indifferent to them because they were hard to understand—that prompted Verlaine to speak of them as cursed. This cultivated sense of neglect, even oppression, at the hands of the bourgeois philistines became the classic pose of the avant-garde.

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  • review • January 18, 2012

    Empirical study led L. Ron Hubbard to the principles on which Scientology is based. He never claimed to have had a revelation. He spelled the principles out in 1950 in Dianetics: The Modern Science of Mental Health, the bestselling self-help treatise in which he presents rationality as our birthright. The human mind, he wrote, is a perfect computer corrupted by ‘incorrect data’. He urged readers to reflect on their lives and ask themselves: ‘Where is the error?’ With the help of a lay therapist, called an ‘auditor’, they could uncover early traumas – mothers who wanted to abort them, or

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  • review • January 17, 2012

    The title of Arthur Miller’s first book, Situation Normal (1944), alluded to a well-known saying in the army—Situation Normal: All Fucked Up (SNAFU)—but it might be applied more widely to Miller’s view of American life in general and American family life in particular. It’s true that Philip Larkin used the same vocabulary to describe English families—“They fuck you up, your mum and dad”—but Miller saw tragedy, not just humor, in the postwar American scene. Perhaps no major writer understood better than Miller why America could not be one happy family. In his plays of the late 1940s and early 1950s,

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  • review • January 16, 2012

    On December 5, 1955, to the amused annoyance of the white citizens of Montgomery, Alabama, an obscure young Baptist minister named Martin Luther King, Jr., called a city-wide Negro boycott of its segregated bus system. To their consternation, however, it was almost 100 percent successful; it lasted for 381 days and nearly bankrupted the bus line. When King’s home was bombed during the siege, thousands of enraged Negroes were ready to riot, but the soft-spoken clergyman prevailed on them to channel their anger into nonviolent protest — and became world-renowned as a champion of Gandhi’s philosophy of passive resistance. Within

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