Putting aside for a moment the racist phrenological roots of the terms “highbrow” and “lowbrow,” here’s an interesting conversation on what the difference between them means for literature now. For a historical take, check out this graphic from a 1949 edition of LIFE magazine, which taught me a real gentleman wears fuzzy tweed, and iceberg lettuce is never in style.
On the New Yorker’s Elements blog, our own Mark O’Connell writes about Cloak, a new app which lets you avoid people you don’t want to bump into by accident. Despite the fact that Mark can see himself using the app, he finds it “ultimately troubling,” in large part because it strikes him as “such a lonely thing to have achieved through technological control of our social environments.” (Speaking of apps, have you read Mark’s epic e-book?)
At Salon, Kyle Minor listens to an audiobook recording of Joan Didion’s Salvador and finds that it remains “immediately relevant to a new reader whose memory of its context is more the kind of memory that arises from having read books about history than one that arises from having been old enough in 1983 to understand the meaning of phrases such as death squad, or body count, or mechanism of terror.”
In the latest issue of Harvard magazine, Nathan Heller writes about Arion Press, the last remaining “full-service letterpress in the United States.” Apparently Arion, which has “an in-house foundry where lead is melted into ingots,” sells editions of canonical titles (like Ulysses) that retail for thousands of dollars. (h/t our own Kevin Hartnett)