“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.
“If Do-It-Yourself culture continues to gain appeal as fast as climate change lays on the chaos, we will need to look to the hinterlands for both practical guidance and hints about the fashions of the future. I recently watched Werner Herzog’s 2010 documentary (directed in collaboration with Dmitry Vasyukov) Happy People, which follows a few Siberian fur trappers over the course of a year, and let me tell you: when Celsius and Fahrenheit converge, Gennady of Bakhtia does not waste his time tossing boiling water into the air just to see what happens.” On surviving the next polar vortex.
“I’ve turned paranoid lately. When I’m in an airport, I look at the people around me at the gate, trying to suss out who might make a good ally if things went bad. I carry two plastic tubs full of warm clothes, hiking boots, and first-aid supplies in the back of my Subaru at all times. I have as large a volume of canned and dry goods in my pantry and laundry room as the shelves will hold.” Rebecca Onion for Slate on the appeal and contagion of “prepper fiction.” Pair with our review of Claire Vaye Watkins‘s Gold Fame Citrus, one of the recent bumper crop of apocalyptic narratives.