“Sometimes, I’ll read a novel written by a man in which a woman walks home alone, late at night, in America, without having a single thought about her physical safety, and it’s so implausible that I’ll put the book down.”
The first in a new series at the Paris Review, featuring “underrated and underread” female authors. This one profiles British Novelist Olivia Manning (1908-1980), known best for her novel School for Love and for her Balkan and Levant trilogies. Manning’s books featured less likable women characters, who might have been better appreciated if they were introduced now. A contemporary of Iris Murdoch and Kingsley Amis, she was jealous of their greater fame.
It took Toniann Fernandez a decade after first leaving her New Jersey home to understand the appeal of Bruce Springsteen, the state’s officially sanctioned saint, and she tracks her various exploits this past year in what eventually becomes a futile attempt to meet the Boss.
Everything you didn’t know you wanted to know about pineapples.
Teen mothers, meth users, child abusers ─ reality TV is cast with people struggling with extreme challenges, so how complicit are viewers for fueling their trouble by treating it as entertainment? Lucas Mann investigates the genre and the love he and his wife share for reality TV.
Heather Radke writes about JUMPSUIT, a political art project by The Rational Dress Society’s Abigail Glaum-Lathbury and Maura Brewer. Glaum-Lathbury and Brewer aim to call attention to the ills of late capitalism — and to “make America rational again” — by manufacturing non-gendered, nearly shapeless jumpsuits, and encouraging people to wear them to the exclusion of all other fashion choices. Radke spends three weeks in one, and finds a surprising freedom in this particular fashion — or, anti-fashion — dictum.
Art in the age of mechanical reproduction was supposed to be devoid of the aura of the artist. How could something be original if everything could be copied? Crypto boosters suggest the blockchain can restore some of this lost luster, and they’re ready to use it to create an entirely new art market
Aisha Sabatini Sloan weaves together recollections of her own neck injuries and back pain with a study of visual artist Jean-Michel Basquiat’s diligent, abstract renderings of body parts and bones.
“We is an escape hatch. We is cheap. We is a way of simultaneously sloughing off personal responsibility and taking on the mantle of easy authority.”