The Smithsonian has a good reminder about the links between design and history, about how time can seemingly erode the politics behind an aesthetic movement, about the relationships between images and texts, about how Italian futurism may still look cool but came from a group of sexist and at least partially fascist men.
“When people are young adults, they have these packs, or tribes, that they form. Those connections are very real, and yet another, more powerful social narrative is that you’re supposed to pair off and have children—and never see your friends again. In the case of the gay world, there’s an additional element, in which you’re supposed to spin away from your straight friends and be part of a gay world. Both ideas of adulthood are sad to me, and I was attracted to a group of friends as a lost paradise, and one that there’s no way to keep.” At The Paris Review Daily, Anna Altman talks with Caleb Crain about his new book, Necessary Errors.
“Bestselling self-published authors attract producers because they have a proven track record if they stay on Amazon sales charts over time.” The Guardian considers the Hollywood success of writers such as Andy Weir, E. L. James, and Mark Dawson. And just last year our own Bill Morris wondered why literature was enjoying such a good run out in LaLa Land: “Four novels as source material for Oscar-nominated screenplays? What happened? Did some pixie slip a vial of smart powder into the L.A. drinking water?”
In The Age of The Crisis of Man, a new book by n + 1 co-founder and editor Mark Greif, the author examines the life and death of the concept of “man,” aka a unified humankind that could be said to suffer from particular conflicts. It was born in the thirties, with the rise of Fascism, but persisted for decades, eventually giving way to a more diversified view of humanity. In Tablet, Adam Kirsch dives into Greif’s arguments.