The New York Times profiles our best tool in combating asinine email forwards: snopes.com. Use it liberally against all who forward you nonsense masquerading as “news.”
Megaupload’s demise has the internet in an uproar, but the shutdown of the sharing site is unlikely to put a dent in online piracy. Still, sites such as FileSonic, FileServe, and and Uploaded.to have taken matters into their own hands by disabling sharing access in the United States, and MediaFire’s CEO has issued a preemptive statement on the matter. None of this is particularly surprising, though, which is why it’s so refreshing–for all fans of Schadenfreude–to learn that Kim Dotcom, Megaupload’s “Goldfinger”-esque founder, plans on releasing an album in the near future.
“The way Vermeer painted this wall is consistent with a photograph. It is not consistent with human vision.” In a fascinating new documentary by Penn and Teller, a digital-graphics artist spent five years building a lens, a room, and a harpsichord to figure out how.
“What traits make Austen special, and can they be measured with data? Can literary genius be graphed?” The New York Times tackles the question of why, 200 years after her death, Jane Austen is still so popular. (One finding: the author“used intensifying words — like very, much, so — at a higher rate than other writers.”) See also: our interview with Curtis Sittenfeld, whose most-recent novel Eligible is the ultimate literary tribute, an adaptation of Austen’s Pride and Prejudice.
“We find ourselves in a swarm of fellow starstruck souls outside the Sheraton Hotel on Seventh Avenue in Manhattan, churning, squirming.” 25 years after the publication of Bonfire of the Vanities, Tom Wolfe returns to the subject of Wall Street. You can also check out my review of his most recent novel, Back to Blood, over here.
“It’s really strange to have the success of a poem be so directly tied to people processing grief. It’s a strange thing, because it’s a blessing and a curse.” The Rumpus interviews poet Maggie Smith about her new collection, Good Bones, her viral poem that shares its name, and her craft. From our archives: Smith’s collection was featured in our round-up of October’s Must-Read Poetry.
Picador’s Gabrielle Gantz is holding monthly conversations with bloggers, and she posts the results on the publishing house’s fantastic Tumblr. Here she interviews Aidan Flax-Clark, associate editor of Lapham’s Quarterly, and gets him to discuss the similarities between his research and The Matrix.