In the Time of Monsters

What’s the difference between good and fun when it comes to art? Good is an egg—a slippery, laden, fragile word. Good works of art aren’t necessarily about good people—in fact, they’re usually not—nor are they necessarily created by them. Fun is a gun—a shiny, blunt, punchy little word—easy to pull, hard to look away from. Fun seems universally appealing, but it can quickly turn cruel.
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Bigger Brother

What we’re learning is that the symbiosis between capitalism and privacy was maybe just a phase, a four-hundred-year fad. For capitalism is an adaptive creature, a perfect chameleon; it has no disabling convictions but seeks only profit. If privacy pays, great, but if totalizing control pays more, then so be it.
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Featured Articles




Left Behind
While poverty in America is all too real, it’s not the only reason for the epidemic of deaths of despair.

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A Very Hot Year
The warmth we’ve added to the atmosphere—the heat equivalent, each day, of 400,000 Hiroshima-sized bombs—is already producing truly dire effects, decades or even centuries ahead of schedule.
Serfs of Academe
Pursuing a life in academia has become more like trying to become a professional athlete or a star musician than a doctor, a lawyer, or even a typical service sector worker.

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Whatever He Wants
Republican senators are now quite openly behaving as courtiers. It is impertinent for courtiers even to go through the motions of putting the monarch on trial.

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The Designated Mourner
Joe Biden is the most gothic figure in American politics. He is haunted by death, not just by the private tragedies his family has endured, but by a larger and more public sense of loss.
The Great Amalgamator
Rachel Harrison’s starting point is a feeling of disconnectedness, estrangement, and simmering revolt fed by a finely cultivated disgust.

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