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Omnivore

What if the regulators are as bad as the banks?

Carolyn Sissoko (USC): The Plight of Modern Markets: How Universal Banking Undermines Capital Markets. Joshua S. Hanan (Denver), Indradeep Ghosh (Haverford), and Kaleb W. Brooks (Indiana): Banking on the Present: The Ontological Rhetoric of Neo-Classical Economics and Its Relation to the 2008 Financial Crisis. Hugh Rockoff reviews Fragile by Design: The Political Origins of Banking Crises and Scarce Credit by Charles W. Calomiris and Stephen H. Haber. Steven Davidoff Solomon (UC-Berkeley) and


Paper Trail

The Intercept gives the backstory to Matt Taibbi’s recent departure from First Look (its parent company), describing his resignation as the result of “months of contentious disputes” that Taibbi had with Pierre Omidyar, Randy Ching, and John Temple (First Look’s founder, COO, and president, respectively). Taibbi had been hired to head Racket, which was conceived

Syllabi

Andre Dubus's best characters

Andre Dubus's literary superpower is to hit upon that one thing about a character that makes him him, or her her. And in so doing, with subtle, clever details—breadcrumbs on the trail to the nucleus

Daily Review

Sister Golden Hair

Over the course of five novels, Darcey Steinke has sought to map and elevate the soul of her protagonists, usually female seekers overlooked by their thick-skinned, even-keeled peers. Part detective, part medium, part anthropologist, the Steinke heroine is voracious for pleasure—but too wise to look away from ugliness.

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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