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Omnivore

Maps that explain America

From the Boston Globe, Michael Blanding on the lie that charted New England’s future: John Smith’s map changed the world, especially the parts he made up. Susan Schulten on the story behind the ancient map that invented red and blue states: The country was just as polarized 125 years ago — except the colors were upside down. From Wonkblog, Emily Badger on a century of change in the nation’s capital, in maps; and on the states that have the worst roads in America. A US map on the most common cause


Paper Trail

Ben Bradlee, long-time editor of the Washington Post, died on Tuesday. He was ninety-three. Bradlee was in charge of the Post for twenty-six years, during which time the paper broke Watergate and won seventeen Pulitzers. Vogue has an exclusive preview of Griffin Dunne’s new documentary about Joan Didion, We Tell Ourselves Stories in Order to Live. A Kickstarter supporting the film

Syllabi

Sextet

Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Flings

For all its advantages, fiction must cede ground when it comes to capturing the contemporary idiom. A great story collection, and Justin Taylor's Flings is a great story collection, swoops through the world like a butterfly net capturing not only the way we speak but the way we think.

Interviews

Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?

Cinema

Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and

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