The thing about Dave Chappelle, writes Rachel Kaadzi Ghansah in her marvelous essay on the comedian’s family history, the success of Chappelle’s Show, and how the two informed his opinions on race, “is that he was suddenly vaulted into the awkward position of being the world’s most famous interlocutor in a conversation about race—the one conversation no one likes having.” In light of his recent heckling in Connecticut, as well as the continued misinterpretation of his comedy, “it’s easy to understand why Chappelle was done with being misread, tired of explaining, [and so he] finished talking.”
“Forty years later,” Romesh Ratnesar writes “the Stanford Prison Experiment remains among the most notable—and notorious—research projects ever carried out at the University.”
Claire of the Sea Light author Edwidge Danticat remarks upon the “split between the Haiti of before the earthquake and the Haiti of after the earthquake” in her interview with Guernica’s Dwyer Murphy. Her latest novel was featured in our Great Second-Half 2013 Book Preview.
“When we think of novels, we often think of chunks of time and the action during those periods. But when I think of time, my teenage years particularly, I think of relationships.” Recent Year in Reading alum Darcey Steinke talks with The Rumpus about being a teenage girl, motherlessness, “quiet” books and her new novel, Sister Golden Hair.
At Page-Turner, Daphne Merkin reads Catherine Lacey’s Nobody Is Ever Missing, which follows the journey of a disenchanted New Yorker as she hitchhikes her way through New Zealand. The novel, Merkin writes, features what Leslie Jamison, in her recent essay collection, termed a “post-wounded woman.”
Though everyone is tired of the online critics are too nice/ do critics even matter debate cropping up everywhere as of late, Daniel Mendelsohn’s “Critic’s Manifesto” may be the best thing to come out of the conversation yet: a clear formulation of what it means to be a critic and why that matters.