You’ve likely heard that artists these days are in trouble. The probability that your average creative person will make a living from their art is getting smaller by the day. But amidst all this hand-wringing, we forget one simple fact — it’s always been getting worse, and there’s always been something killing culture. At Slate, Evan Kindley writes about Scott Timberg’s new book Culture Crash, asking whether the Internet is really the dread force it’s often made out to be.
Recommended Reading: Sarah Gerard records her phone calls with inmate Matthew Seger as he tries to find time to write in prison. “I feel like all of these ideas I have will someday, maybe, be of some use. I don’t want to let any of them go.” We interview Matthew Parker, the author of the graphic memoir, Larceny in My Blood: A Memoir of Heroin, Handcuffs, and Higher Education.
As the 20th century wore on, the Strugatsky brothers grew pessimistic about Soviet Communism, eventually turning their fictional worlds from socialist utopias to dystopias. Their most famous early novel, Noon: 22nd Century bears little resemblance to later works like Hard to Be a God, which implicitly criticizes the Soviet government. At The Paris Review Daily, Ezra Glinter charts their evolution.
“These sorts of connections are at the centre of nearly all time machine fiction. These novels usually draw attention to telling commonalities across historical eras, or between the past and the present. That gives an engaging puzzle quality to the books—we read seeking out the dropped clues that will shed light on the purpose of the parallel.” On fiction in which the plot takes place over multiple timelines.