“A subject to which intellectuals never give a thought,” wrote Isabelle Eberhardt in a notebook, “is the right to be a vagrant, the freedom to wander. Yet vagrancy is deliverance, and life on the open road is the essence of freedom.” The Paris Review‘s excellent column, “Feminize Your Canon,” returns with Eberhardt, a cross-dressing Swiss explorer and author who published under a male pseudonym as a teenager. Learn about her uncompromising life filled with intrigue, adventure, and passion.
Isabelle Eberhardt, Dependent on Chance
“And I know my rights so you gon’ need a warrant for that”
Just what you’ve always wanted: a “line-by-line analysis of the second verse of ’99 Problems’ by Jay-Z, from the perspective of a criminal procedure professor!” (PDF)
Type Wars
For everyone who likes typography and arguments, New York Magazine has a story up that covers the type designers Jonathan Hoefler and Tobias Frere-Jones and follows the pair through their success to their ultimate rift. For those who prefer debates with more immediate impact, Mental Floss has a breakdown of the best shots fired in the fight over the Oxford Comma.
“There’s potential on Twitter for wild formal invention.”
If you’ve finished reading David Mitchell’s latest short story – which was published on Twitter last week and then ran on our site five days ago – you’ll appreciate Ian Crouch’s look at its greater meaning, and what it could mean for Twitter as a whole.
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An Experimental Review of an Experimental Translation
Matthew Jakubowski’s “experimental review” of Yoko Tawada’s Portrait of a Tongue is unlike anything you’ve read in months, and I promise you that.
Lovely Soprano
In the current Broadway production of Twelfth Night, Mark Rylance plays Olivia, a role which sees him plaster his face in white makeup and style his hair into a “pouf like a charcoal brioche.” Rylance, the first artistic director of the Globe Theatre in London, projects such a palpable “air of distracted grief” in his performance that “the carapace of theatricality evaporates,” Charles Isherwood writes. The Times theater critic also highlights the work of John Douglas Thompson and Harriet Walter.
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