In mid-February a second Ukrainian ceasefire came into effect. The fighting has not stopped, though it has been much reduced. Few people think it will last. The morale of soldiers on both sides is high. Civilians who remain in the areas where there is fighting have been emerging from their shelters and trying to resume some sort of normal life, though some still live underground. A huge proportion of the people who live in these areas have left. I took the following photos while reporting for The New York Review of Books from the region last month.
Monet’s influence is crucial to what Willibald Sauerländer considers to be Manet’s “conversion” to Impressionism. Yet their acquaintance was not always amiable. Two paintings made by Manet in the summer of 1874 are the subject of Sauerländer’s new book, Manet Paints Monet: A Summer in Argenteuil, which Colin B. Bailey reviews in The New York Review’s April 23 issue.
In his writing about photography, Siegfried Kracauer, the Frankfurt School’s freelance intellectual par excellence, was less concerned with the intention of the photographer than with the logic of the medium—a radical view that prized the unforeseen correspondences and inadvertent revelations that may be found in dated news photos or old family portraits, photographs where initial associations fade and vanish so that the image “necessarily disintegrates into its particulars.” Part of the pleasure of a new book of his family photos is finding these very sorts of revelations in the Kracauers’ generally artless snapshots.
On March 14–15, 2015, The New York Review of Books Foundation, Fritt Ord, and the Dan David Prize held a conference, “What’s Wrong with the Economy—and with Economics?” at Scandinavia House in New York.
We are pleased to present the following video footage of the event.
Let me play you “Arleen,” by General Echo, a seven-inch 45 on the Techniques label, produced by Winston Riley, a number one hit in Jamaica in the autumn of 1979. “Arleen” is in the Stalag 17 riddim, a slow, heavy, insinuating track that is nearly all bass—the drums do little more than bracket and punctuate, and the original’s brass-section color has been entirely omitted in this version. I’m not really sure what Echo is saying. It sounds like “Arleen wants to dream with a dream.” A dream within a dream. Whether or not those are his actual words, it is the immediate sense. The riddim is at once liquid and halting, as if it were moving through a dark room filled with hanging draperies, incense and ganja smoke, sluggish and nearly impenetrable air—the bass walks and hurtles.