The saying goes that “the road to hell is paved with adverbs,” but at Beyond the Margins Robin Black makes the opposite argument. “I want you to love adverbs,” she begins, but “more than that, I want you to believe, as I do, that adverbs are the part of speech that best captures the human condition.”
Former nytimes.com design director Khoi Vinh tries to renew his digital subscription to the paper, and it doesn’t go well: “The total customer experience here is haphazard at best, and, at worst — I hate to say this because I am still friendly with many people at the company, but in truth there’s no way around it — it’s insulting.”
“You know, it’s dangerous to focus on one person as a way of talking about a big system. But I think Kissinger reveals the system. He’s not singularly responsible for the system—if we expunge Kissinger from history, we still wouldn’t have a Virtuous Republic—but he illuminates it like nobody else.” Greg Grandin discusses his recent release, Kissinger’s Shadow: The Long Reach of America’s Most Controversial Statesman, at The New Republic.
Sara Davidson’s Joan: Forty Years of Life, Loss, and Friendship with Joan Didion is an intimate portrait of one of America’s most revered and private writers.
Last week I asked “What about J.T. Leroy?” I was wondering when the Leroy hoaxers were going to come forward. Now, one of them has. Warren St. John of the New York Times got Geoffrey Knoop to come clean on the record. Knoop also said that he didn’t think Laura Albert, who wrote the Leroy books, would ever come forward: “‘For her, it’s very personal,’ he said. ‘It’s not a hoax. It’s a part of her.'”Meanwhile, PopMatters put together a special section about Leroy and James Frey. I enjoyed The Rake’s related comments on why Frey can’t hold a candle to Charles Bukowski.I saw Brokeback Mountain a few days ago and thoroughly enjoyed it. In an excerpt from Brokeback Mountain: Story to Screenplay, Annie Proulx describes what it was like seeing her story on the screen: “I felt that, just as the ancient Egyptians had removed a corpse’s brain through the nostril with a slender hook before mummification, the cast and crew of this film, from the director down, had gotten into my mind and pulled out images.” (via Maud)This Boston Globe column articulates quite precisely how I feel about the strife surrounding the cartoons of Mohammed published in a Danish newspaper.
“Over three decades of almost constant composing and recording, he would amass over sixty LPs, running the gamut from early records with his band the Mothers of Invention that helped to create the milieu we think of as the Sixties, to caustic send-ups of that same counterculture, doo-wop pastiche, tape cut-ups, film scores, gonzo cabaret, big-band charts, way out prog, show tunes, music composed entirely on and for the Synclavier digital sampler, full-score orchestral music, and thousands of scabrous, exploratory guitar solos.” On Frank Zappa, music theory wizard and occasional public intellectual.
“Why should Serena not respond to racism? In whose world should it be answered with good manners? The notable difference between black excellence and white excellence is white excellence is achieved without having to battle racism. Imagine.” Claudia Rankine writes for The New York Times Magazine about tennis player Serena Williams, racism in sports, and white privilege. Pair with our own Michael Bourne’s list of books that “shed light on the history and evolution of racism in America.”