Christopher Ketcham takes Harper’s readers through the “antimonopolist history” of Monopoly, “the world’s most popular board game.”
“I think people always expect artists to have a larger understanding of the issues they write about. People have looked to writers and artists forever and asked them to be cultural commentators or political commentators, which can be very scary because I can only speak to my own perspective, and I’m figuring this out along with everybody else. I’m not even sure I’m the best person to talk about it, whatever it is, but I’m someone who can and does.” Electric Literature talks with Sarah Gerard about her debut novel Binary Star, which we reviewed here.
Symmetry’s addictive. Beethoven sought it in the order of chords, Einstein in the logic of theory. Countless writers, too, have sought its imprint in the perfect mot juste. In Aeon Magazine, Philip Ball pleads fervently against the pursuit of beauty in logic, and logic in beauty. “There’s a reason why our galleries are not, on the whole, filled with paintings of perfect spheres… the search for an ideal, perfect Platonic form of the table amid spirals, hypercubes and pyramids has an air of desperation.”
Cage the Elephant is considered one of the best young indie rock acts today, but the band got its start in the burgeoning music scene in Bowling Green, Kentucky. Sometime Millions contributor Craig Fehrman wrote a Kindle Single on Cage the Elephant and its influential hometown, Home Grown: Cage the Elephant and the Making of a Modern Music Scene. You can read his past Millions essays on the history of literary Time covers, Lewis Hyde’s understanding of intellectual property, and an ethnography of readers at Borders.