Philosopher and flower hater Slavoj Žižek comes late to the “let’s discuss The Wire‘s greater cultural significance” party, but he does bring some excellent points with him. For the record, he doesn’t believe it’s the greatest TV series of all time. And the entire thing is worth hearing if only for an in-depth analysis of this [NSFW] scene.
Žižek’s Take on Baltimore
Tuesday New Release Day: Kepler, Block
New this week is the latest Scandinavian sensation, The Hypnotist by “Lars Kepler,” who after a literary manhunt, was revealed to be a husband-and-wife team. Also out this week is a new novel by wunderkind Stefan Merrill Block, The Storm at the Door.
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Becoming What You Write
Recommended Reading: A conversation between Year in Reading alumna Rebecca Makkai and Louise Erdrich at The Chicago Review of Books. You could also read our interview with Makkai following the release of The Hundred-Year House.
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Back to the Future
Photographer Irina Werning‘s “Back to the Future” series recreated and updated various childhood portraits. Its sequel, “Back to the Future II“, is just as awesome. (Note: One or two images per series are NSFW)
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“How should intellectuals write about acts of immense depravity?”
This is a fantastic piece on W. H. Auden, “The Murder of Lidice”, and the importance of the ideological and political contexts of war. Joanna Bourke writes, “the flood of poems [after the Lidice massacre] actually served to draw attention away from the people of Lidice and towards the swollen sensibilities of the poets and their readers.”
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Fighting Words
Mark McGurl author of the book that got everyone talking about MFA programs, The Program Era, mounts a spirited defense against Elif Batuman’s much discussed review of the book. Among his ripostes: “One can be all for the deflation of liberal pieties without being a gleeful ignoramus about it, as though literary journalism needs its own Ann Coulter.” Zing!
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Capital Idea
“The Goldfinch is a grand nineteenth-century novel in that it is an 800-page chronicle of capitalism, a paean to the ways in which the world turns on the questions of who can or can’t pay for what, and how these abilities and inabilities mold us over time. Like the life events and relationships it depicts, it purports to be about love but is actually about money. This portrayal of twentieth century North American society is accurate, but also, just as in life, both exhausting and demoralizing.” On Donna Tartt’s latest novel. (You could also read Adam Dalva’s take on the book.)