Advertisement

Omnivore

The overarching context

Shmuel Nili (Yale): Dangerous Health? Nietzsche’s Physiological Discourse between Nuremberg and Jerusalem. Melissa Deckman (Washington College): Annie Get Your Gun? Women, Guns, and the Tea Party. Anne Helen Petersen on the trouble with “It Girls”: We’ve used the term for nearly a century — but what does it tell us about the way we label women and their work? Where the bodies are buried: Gerry Adams has long denied being a member of the I.R.A. — but his former compatriots claim that he authorized


Paper Trail

In The Baffler, Evgeny Morozov writes about the problems of technology criticism (he thinks it is willfully oblivious to political and social realities), and explains why he’s decided to abandon the profession: “For a long time, I’ve considered myself a technology critic. Thus, I must acknowledge defeat as well: contemporary technology criticism in America is

Syllabi

Andre Dubus's best characters

Bibi DeitzAndre 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

Provence, 1970: M. F. K. Fisher, Julia Child, James Beard, and the Reinvention of American Taste

Luke Barr's Provence, 1970: M. F. K. Fisher, Julia Child, James Beard, and the Reinvention of American Taste (Clarkson Potter, $15) would make a great film. There is gorgeous food, impressive scenery—all those twisty little roads and green vistas!—and lots of backstabbing.

Interviews

Jacob Rubin

Writing fiction about an impersonator is like playing Russian roulette with an allegory gun. Those who survive, whose books don't lapse into neat parables of the process of writing, tend to be brilliant. Examples include George Saunders (CivilWarLand in Bad Decline), Tom McCarthy (Remainder), and Pynchon (the reenactment of Alpdrucken in Gravity's Rainbow). The latest is Jacob Rubin, with his new novel The Poser, about the rise and fall of a gifted impressionist.

Appreciation

Repetition Compulsion

Namara Smith

Elena Ferrante is often asked about the classical influences in her work, and reading her early novels you can see why. They are strikingly compressed and spare, set largely in enclosed, almost anonymous, spaces that evoke the stage of a Greek drama, their focus turned inward. The Neapolitan series takes a different tack, resembling not the claustrophobic Greek tragedy but the expansive epic.

Advertisement