The New Yorker – June 5, 2023 issue: Masha Titova’s “The Music of Art”. The magazine publishes its first synesthetic, collaborative, and interactive cover. By Françoise Mouly.
The pop singer’s trial for copyright infringement of Marvin Gaye and Ed Townsend’s “Let’s Get It On” highlights how hard it is to draw the property lines of pop.
When the critic Joanna Biggs was thirty-two, her mother, still in her fifties, was diagnosed with Alzheimer’s. “Everything wobbled,” she recalls. Biggs was married but not sure she wanted to be, suddenly distrustful of the neat, conventional course—marriage, kids, burbs—plotted out since she met her husband, at nineteen. It was as though the disease’s rending of a maternal bond had severed her contract with the prescribed feminine itinerary. Soon enough, she and her husband were seeing other people; then he moved out, and she began making pilgrimages to visit Mary Wollstonecraft’s grave.
Times Literary Supplement (May 26, 2023) – Alan Jenkins on Martin Amis, Young Russian fascists, The Rossettis at Tate Britain, Writers at the Hay Festival, Seamus Perry on ‘Byron’s Voice’.
In the Foreword to The War Against Cliché: Essays and reviews 1971-2000, a career-spanning collection of his journalism (literary and other), Martin Amis recalled how, when they started out in the early 1970s, he and his friends and colleagues touchingly assumed that literary criticism was as essential to civilization as literature itself was. Furthermore, “the most fantastic thing about this cultural moment” was that, in the debate between the Two Cultures, Art vs Science, “Art seemed to be winning”.
The British and American right differ in the weight they place on ideological purity. With a limited cast of characters – and an even smaller pool of funders – British conservatives can ill afford to divide their world into neoliberals and traditionalists. At NatCon London, the tirades about woke universities and pronouns often obscured political differences, but they can’t conceal them completely.
Stephen Satterfield, the host of the Netflix food-history series “High on the Hog,” was bent over the stove in his parents’ kitchen, near Atlanta. It was one o’clock on a February afternoon, and he was preparing Sunday dinner for the family. Most of the meal was canonical Black Southern food: turnip greens simmered for hours, cheese grits, biscuits baked in a cast-iron skillet.
The woods I know best, love best, are made of Northern hardwoods, sugar maple and white ash, timber-tall; black and yellow birch, tiger-skinned; seedlings and saplings of blighted beech and striped maple creeping up, knock-kneed, from a forest floor of princess pine and Christmas fern, shag-rugged. White-tailed deer dart through softwood stands of pine and hemlock, bucks and does, the last leaping fawn, leaving tracks that look like tiny human lungs, trails that people can only ever see in the snow, even though, long after snowmelt, dogs can smell them, tracking, snuffling, shuddering with the thrill of the hunt and noshing on deer scat for dog treats.
A twenty-two-year-old Ukrainian sniper, code-named Student, stuffed candy wrappers into his ears before firing a rifle at the Russians’ tree line. He’d been discharged from the hospital two weeks earlier, after being shot in the thigh.Photographs by Maxim Dondyuk for The New Yorker
Times Literary Supplement (May 19, 2023) – Portrait of a Marriage: The Mandelas; The Return of Inflation; Doing Justice to John Rawls; The Greatest Italian Novel and Heaney’s translations.
The maximalist designer has positioned himself as an underdog hero of the common man, who is successful despite the falsity and the snobbery of the élites.
London Review of Books (LRB) – May 18, 2023 issue: The War in Khartoum, Vermeer’s Waywardness, Palestinians in Paraguay and Claire Hall on Anaximander.
In London, I had taken A Young Woman Standing at a Virginal for a dependable rest point on strolls around the National Gallery. In Amsterdam, relocated to join 27 other Vermeers in the Rijksmuseum exhibition, its strangeness re-emerged. This canvas, executed towards the end of Vermeer’s relatively brief career (some four years, perhaps, before he died aged 43 in 1675), commits to a tactic he had earlier only toyed with: to set an internal picture as a wholly self-contained block within his own composition, uninterrupted by foreground forms.
For more than a decade, two “recovering” anthropologists have brought documentary closer to the human experience. Now they’ve made the camera part of our flesh and blood.
The New York Review of Books – May 25, 2023 issue: Michael Hofmann on Goethe’s last years, Jerome Groopman on the business of biotech, Joan Acocella on Balanchine, Jed S. Rakoff on William O. Douglas’s environmentalism, Adam Hochschild on 1619 and 1776, Willa Glickman on grassroots labor unions, Brenda Wineapple on Susanna Moore, Ian Johnson on art looters, Jenny Uglow on Samuel Pepys and the wreck of the HMS Gloucester, Nicholas Guyatt on financing the Civil War, Elaine Blair on how we talk about sexual assault, poems by Eugene Ostashevsky, D. Nurske, and Ama Codjoe, and much more.
In Johann Eckermann, Goethe found an amanuensis made in heaven.
Conversations with Goethe: In the Last Years of His Life by Johann Peter Eckermann, translated from the German by Allan Blunden, with an introduction and notes by Ritchie Robertson
A strange time to publish—strange time to publish anything—a translation of Eckermann’s Conversations with Goethe (or should that be Goethe’s Conversations with Eckermann?), in six hundred static, major-key pages that can easily feel like twice as many. The big man, himself by now somewhat fallen on hard times, recorded by the little acolyte.
A new book reveals the split personality of the biotech industry: an altruistic enterprise that creates breakthrough treatments for patients in need, and a bare-knuckle business that seeks to generate astronomic profits and stop competitors from developing better treatments.
A research scientist for Pharmacyclics, Sunnyvale, California, 2013. In For Blood and Money, Nathan Vardi writes that when Pharmacyclics—which developed ibrutinib, a treatment for chronic lymphocytic leukemia—was bought by the pharmaceutical giant AbbVie in 2015 for $21 billion, ‘the deal…set the new high-water mark for success in the biotechnology industry.’
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