Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth
by A.O. Scott
This Thing We Call Literature
by Arthur Krystal
Two lucid and intelligent books, A.O. Scott’s Better Living Through Criticism and Arthur Krystal’s This Thing We Call Literature, explore the same complex theme: criticism as a public art and a public service, performed, however, by critics who speak for themselves, addressing individual readers, not a collective public. Both books …
James Merrill began his public career as a poet at twenty-five, four years after he graduated from Amherst, with the exquisitely crafted, tautly controlled lyrics in his First Poems (1951). His style gradually relaxed over the next twenty-five years, but he remained committed to his early elegance and virtuosity. Then, …
Pressed for Time: The Acceleration of Life in Digital Capitalism
by Judy Wajcman
Exposed: Desire and Disobedience in the Digital Age
by Bernard E. Harcourt
Virginia Woolf’s serious joke that “on or about December 1910 human character changed” was a hundred years premature. Human character changed on or about December 2010, when everyone, it seemed, started carrying a smartphone. For the first time, practically anyone could be found and intruded upon, not only at some fixed address at home or at work, but everywhere and at all times. Before this, everyone could expect, in the ordinary course of the day, some time at least in which to be left alone, unobserved, unsustained and unburdened by public or familial roles. That era now came to an end.
In a letter to his college girlfriend, Barack Obama writes with strikingly suggestive insight into Eliot’s literary and religious tradition and his special relation to it. Instead of isolating Eliot in some social, ethnic, or sexual category, instead of hearing in him the voice of political or ideological error, Obama finds a deep ambivalence that might be felt by anyone.
When I work in Word, for all its dazzling prowess, I can’t escape a faint sense of having entered a closed, rule-bound society. When I write in WordPerfect, with all its scruffy, low-tech simplicity, the world seems more open, a place where endings can’t be predicted, where freedom might be real.
Reading the first pages of Thomas Pynchon’s new novel, Bleeding Edge, with its story of a shrewd but otherwise unexceptional woman trying to untangle a vast unsolvable mystery, I remembered the excitement I felt when I first read his earlier novel on the same theme, The Crying of Lot 49. As I thought about The Crying of Lot 49, I belatedly realized that it tells a story very much like the one told by Virginia Woolf’s Mrs. Dalloway. In tone, setting, character, and incident, Mrs. Dalloway is a world away from The Crying of Lot 49, but both books have the same overall shape and both describe a lonely and reluctant quest for meanings that can never be obvious. There are greater books, but none that move me in the same way.