The Atlantic discusses the link between science fiction and colonialism. “The fact that colonialism is so central to science-fiction, and that science-fiction is so central to our own pop culture, suggests that the colonial experience remains more tightly bound up with our political life and public culture than we sometimes like to think.”
What are those crazy kids from Vampire Weekend saying in their new single, “Cousins”? It’s a little disappointing, as the beleaguered translators of lyrics at We Listen For You reveal.
“Post-truth” has been named word of the year by the Oxford Dictionaries, reports The Guardian. Considered an adjective, its definition is “relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.” The Dictionaries report its first use in 1992 by the late Serbian-American playwright Steve Tesich in relation to Iran-Contra and the first Gulf War. And we thought Colbert’s “truthiness” was funny.
At a loss for what to read? Goldman Sachs has released their reading list. “We’re talking about people who incurred $550 million in fines for schemes to turn a profit on the civilization-threatening financial crisis they themselves had helped create, and the line between genius and chutzpah is notoriously hard to draw, so, yeah, I’d like to know what’s on these folks’ bedside tables.” Our own Hannah Gersen wrote about Occupy Wall Street and Bartleby, the Scrivener.
Portland-based Publication Studio is hosting a whirlwind series of events in New York next week. They kick off the weekend with an evening mixer at the Museum of Modern Art on Thursday, April 19; continue with a conversation between landscape architect Diana Balmori and PS co-founder Matthew Stadler at Printed Matter, on Friday, April 20th; and end with a lavish sit-down dinner, cooked by Ben Walmer of the Highlands Dinner Club in the Harlem speakeasy where HDC got its start, on Saturday, April 21.
“A month ago, I touched a lock of Sylvia Plath’s hair.” At Tin House, Emma Komlos-Hrobsky examines the relationship between the late poet and her fans.