Simon DeDeo writes for AGNI about the first line of Paradise Lost, John Milton’s first disobedience. As he explains it, “The line is a syllable too much. In Milton’s blank verse epic—iambic pentameter, five sets of two-syllable feet—the opening has eleven syllables, not ten.”
“We live in the age of opinion — offered instantly, effusively and in increasingly strident tones. Much of it goes by the name of criticism, and in the most superficial sense this is accurate.” The New York Times approached six accomplished critics, Stephen Burns, Katie Roiphe, Pankaj Mishra, Adam Kirsch, Sam Anderson, and Elif Batuman to explain, in the spirit of Alfred Kazin, “what it is they do, why they do it and why it matters.”
It’s been a good year for Alfred Hitchcock, what with Vertigo beating out Citizen Kane in the once-a-decade Greatest Movie of All Time poll conducted by Sight and Sound. At Full-Stop, Rachel Baron Singer takes a look at Hitchcock and The Girl, both of which examine “the dark side” of Hitchcock’s genius.
In the latest issue of the New York Review of Books, Ice Trilogy author Vladimir Sorokin looks at the current events related to Ukraine, Russia, and Crimea, and notes that “the Russian state’s ‘vertical power’ structure” (which is to say “monarchical structure”) is what keeps the Russian people held “hostage to the psychosomatic quirks of its leader.”
With the season five premiere of Mad Men fast approaching, now’s as good a time as any to catch up on the intimate commingling of its main characters. Fortunately, the folks at Wired have organized the whole thing into a neat “Illustrated Guide to Mad Men Bed-Hopping.”