Is death “in” as a topic? It may seem like a ridiculous idea, but Lorraine Berry has evidence to back it up. She argues, using Benjamin Johncock’s The Last Pilot, among others, as proof, that mourning and grief are enjoying a bit of a renaissance.
Evidently, Alain de Botton has recovered from the unfavorable New York Times review of his latest book, The Pleasures of Sorrow and Work, for which he excoriated reviewer Caleb Crain, claiming that Crain “killed [his] book in the United States.” De Botton was just named Heathrow Airport’s first writer-in-residence. During his week tenure at a desk in Terminal 5, he will record his observations in “real time,” with his typing appearing on a screen behind him. Afterward, the entries will be collected and published as a book, A Week at the Airport: A Heathrow Diary.
“Publishing is also an industry that selectively values a kind of swaggering authenticity that would never capitulate to demands for something so banal as being nice. But authenticity is too often a short hand for callous, aloof, or honest for the purpose of cruelty rather than truth-seeking.” Alana Massey writes about the “niceness” of publishing.
In the latest Baffler, Evgeny Morozov argues that Silicon Valley, in typical fashion, has taken to “hacking” our language. Old, trusted words don’t mean what they used to mean, and complex ideas have been stripped of subversive implications. “Complexity,” he writes, “is not particularly viral.”
Chris (Simpsons Artist) will be publishing a book on positivity. Check out a few scenes from it in The Guardian. He has advice for how to handle everything from depression to hair nits. For more graphic art, we review the twenty-fifth anniversary edition of Drawn and Quarterly.
Edmund Wilson famously said of the works of H.P. Lovecraft that “the only real horror in most of these fictions is the horror of bad taste and bad art.” In time, however, Lovecraft developed a substantial following, which raises the question of what attracted readers to his work. The answer? “The weird realism that runs through his writings undermines any belief system – religious or humanist – in which the human mind is the centre of the universe.” Related: Ben Dooley on the scariness of House of Leaves.
“Patriarchal domination, even — despite appearances — in the West, is still very entrenched, and each of us, in the most diverse places, in the most varied forms, suffers the humiliation of being a silent victim or a fearful accomplice or a reluctant rebel or even a diligent accuser of victims rather than of the rapists. Paradoxically, I don’t feel that there are great differences between the women of the Neapolitan neighborhood whose story I told and Hollywood actresses or the educated, refined women who work at the highest levels of our socioeconomic system. ” In a rare interview, Elena Ferrante discuses the #meToo movement, Naples and her writing process for the Neapolitan novels in a rare interview translated from the original French.