When riots convulsed working-class communities throughout Britain this summer, the predominant reflex in the English media was to lash out at the rioters as criminals, thugs, and hooligans, engaged in senseless destruction for destruction’s sake. To be sure, there was plenty of unhinged mayhem,
“Don’t laugh.” It’s the very first paragraph, and Catherine Tumber is already worried that we won’t take her seriously. She has good reason, since the thesis of her new book is that small Rust Belt cities can help all of us turn green. It’s a bold and hopeful thesis, but also a tough sell.
Why does everyone love him so? Well, not everyone, of course. Here’s what I mean: “Today Chesterton is not among the best known of authors,” wrote the right-wing anarcho-capitalist Joseph Sobran. “But among those who do know him, he is one of the best loved.” And those who do love him are
In the first chapter of his exposé on the utter decrepitude of East London, The People of the Abyss (1903), Jack London seeks out those “trail-clearers, living sign-posts to all the world,” in other words, the Cook’s travel agents, known for sending curious and adventurous Britons to “Darkest
In a 2008 interview with Mike Kelley, writer Glenn O’Brien described the experimental art and music collective Destroy All Monsters—which Kelley founded in 1973 with fellow University of Michigan students Niagara (Lynn Rovner) and Jim Shaw and filmmaker Cary Loren—as “a mythic band. . . .
Rock’s accumulated past is accessible as never before due to the Internet’s vast and ever-growing archives. From the most mainstream star to the most obscure lost artist, many decades of music, video, and trivia are just a mouse click or scroll-wheel twirl away from our ears and eyes. It is
As a practicing architect and a leading critic, Michael Sorkin is a unique voice in the debate over how to construct and sustain the city. His dual vocation allows him to bring a special urgency—and no small measure of poignancy—to the persistent question of how our cities can retain their meaning
In her newly translated 2002 autobiography, Japanese artist Yayoi Kusama describes her dense all-over paintings as “white nets enveloping the black dots of silent death against a pitch-dark background of nothingness.” Such a mystic, existential idea of art places Kusama on the long roster of
About an hour into The Tree of Life, Terrence Malick’s meditation on nature, grace, Brad Pitt’s crew cut, and the laying of the foundations of the Earth, I turned to my wife, snuck a Twizzler from the bag in her lap, and said, “I knew this was going to cover a lot of ground, but I really didn’t
“I was under the tragic spell of the South, which either you’ve felt or you haven’t,” John Jeremiah Sullivan writes in “Mr. Lytle: An Essay,” from his new collection, Pulphead. “In my case,” he continues, “it was acute because, having grown up in Indiana with a Yankee father, a child exile from