In Castro’s Cuba, a compilation of photographs and text by the late Lee Lockwood, including hundreds of previously unpublished and all gorgeously produced photographs from 1959 to 1969, Lockwood photographs Fidel himself, and people who are looking at, touching and photographing Fidel. He also photographs the photographs and other images of Fidel that proliferate before his lens as the years wear on, before this omnipresent iconography of Fidel had begun to vanish from the Cuban street.
Novelist Lionel Shriver’s speech expressing her hope that identity politics and the concept of cultural appropriation would turn out to be passing fads contains a kernel of truth encased by a husk of cultural and historical blindness. It seems clear that one part of the fiction writer’s job is “to step into other people’s shoes.” But to paraphrase Freud, sometimes a hat is more than just a hat. Sometimes it is a symbol—and a racist one, at that.
In September 2015, the Getty Research Institute in Los Angeles acquired the first photographs ever taken of Palmyra, the great trading oasis in the heart of the Syrian desert. With a history that extends back nearly four thousand years, Palmyra has risen and fallen many times. The worst destruction, certainly, was inflicted between June and September of 2015 by the militants of the Islamic State, who obliterated the ancient buildings amid accusations of paganism and idolatry.
Within the space of less than two weeks the political talk switched from Clinton having a possibly unbreakable grip on the Electoral College vote to how much Trump has gained on her. How did this happen? Why isn’t the far more qualified candidate creaming an opponent so clearly unfit for presidency? What is it about Clinton that puts so many people off?
While macroeconomic data show a relatively healthy US economy, overall participation in the workforce—what is known as the employment-to-population ratio—is historically low. One explanation is that many more people are in school, but that still leaves some 9.5 million fewer men at work than in 1965. There are simply too few jobs.
Adapted from the Thomas Bernhard novel, David Lang’s beautiful and startlingly original new opera The Loser is an obsessive, maddened rant about the ways in which art can change (and destroy) our lives. The gauntlet that Bernhard and his characters have thrown down is: if you aspire to be any sort of artist, particularly a musician, be brilliant, be a genius—or don’t bother.
It’s generally agreed that one of the most distinctive features of Italian public life is factionalism, in all its various manifestations: regionalism, familism, corporativism, campanilism. If Italian writers have always condemned factionalism, their work inevitably expresses the emotions, values, and stories of a world where belonging is more important than any other value, freedom, goodness, and success included.
There is only one option left to Obama that isn’t seen as unrealistic, unpalatable, or insignificant: to set down the guidelines or “parameters” of an Israeli-Palestinian peace agreement—on the four core issues of borders, security, refugees, and Jerusalem—in a US-supported UN Security Council resolution. Once passed, with US support, it would become international law, binding, in theory, on all future presidents and peace brokers.
Ai Xiaoming: I believed in the goodness of human nature. I believe this is naïve. Actually, human nature in this totalitarian society has become very vile. This power has changed Chinese people’s psychological makeup. Most people, very many people, are really terrible; they’re afraid of losing things.
When it comes to lying to the public and the press, Trump has Clinton beat hands down, and a growing number of journalists are becoming troubled by what they recognize as their own double-standard in dealing with the two. Clinton’s deceptions, essentially on one subject, have invited a great deal of scrutiny while Trump has engaged in such a torrent of prevarications that they can’t be kept up with.