I've been thinking about Edith Wharton for the past couple of days, turning over the characters from The Age of Innocence in my head, and listening to this interview with Wharton biographer Hermione Lee. From other sources I've gotten the sense that Wharton was an imperialist and also vaguely racist. I thought about that for a bit, and then decided I didn't much care. It all feels kind of irrelevant. I believe in the right to love people through their work, and I see no reason why meeting you over drinks is any more superior than meeting you through art. I reserve the right to love the dead, regardless of who the dead, in a different time, deemed worthy of love.
With that said, what I love about Wharton--the Wharton who wrote Age of Innocence--is her empathy and ambivalence. I haven't read Wharton's other novels but there was some talk in comments alleging that her earlier work lacks those qualities. I'd hear more about that from the Horde. I think it's interesting that Wharton was almost sixty when she wrote Age of Innocence and could afford some distance from the "Old New York" she was portraying. Maybe that distance allowed for more empathy, for a more complete sketch of that world.
Let me back up some: Some time ago, in one of our conversations, a commenter asked if I could provide a quick "tip sheet" on the Civil War which they could whip out in order to best one of their bigoted uncles who insisted that the War wasn't about slavery. I declined to do so, and went to inveigh against a partisan, debate-team approach to history. (I know there are people who read this blog in order to arm themselves against their racist Facebook friends, but I don't much like it.) That's also what I was getting at in this Stanley Crouch piece, and in my general critique on the need to "demythologize" Malcolm X. I look at askance at any work which bills itself as a "corrective." There's something narrow and profane about the whole business. Paint us a complete picture and the correctives will flow naturally.
This is what I love about Innocence. I don't see Newland Archer as tragic. (The name "New Land" is itself interesting, given the themes of the book.) I don't see him as wrong. Wharton presents to us a deeply flawed world. But whereas a lesser writer would have stopped there, Wharton shows us how an honorable person, totally apprised of those flaws, might die for that world nonetheless. The subtle point beneath all of this is an arresting: Wharton turns the camera toward us and asks "Are you so much the genius that you can say you'd have done anything different?"
When Newland says to Count Oleska that he is searching for a world where "categories" like husband, wife and mistress don't exist, the much more worldly, and wiser, Oleska looks at him and says, "Oh my dear--Where is that country?"
Where is that country.
I fucking love that line. It says so much about how we both underestimate, and overestimate, our imagination. I think some of the the Old Virginians must have thought much the same when faced with the beast of slavery--Where is that country.
What a wonderful book. I started reading it again last night. It's a very conservative (small c) novel. More to come.
Ta-Nehisi Coates is a national correspondent at The Atlantic, where he writes about culture, politics, and social issues. He is the author of The Beautiful Struggle and the forthcoming Between the World and Me.
Even when a dentist kills an adored lion, and everyone is furious, there’s loftier righteousness to be had.
Now is the point in the story of Cecil the lion—amid non-stop news coverage and passionate social-media advocacy—when people get tired of hearing about Cecil the lion. Even if they hesitate to say it.
But Cecil fatigue is only going to get worse. On Friday morning, Zimbabwe’s environment minister, Oppah Muchinguri, called for the extradition of the man who killed him, the Minnesota dentist Walter Palmer. Muchinguri would like Palmer to be “held accountable for his illegal action”—paying a reported $50,000 to kill Cecil with an arrow after luring him away from protected land. And she’s far from alone in demanding accountability. This week, the Internet has served as a bastion of judgment and vigilante justice—just like usual, except that this was a perfect storm directed at a single person. It might be called an outrage singularity.
The new version of Apple’s signature media software is a mess. What are people with large MP3 libraries to do?
When the developer Erik Kemp designed the first metadata system for MP3s in 1996, he provided only three options for attaching text to the music. Every audio file could be labeled with only an artist, song name, and album title.
Kemp’s system has since been augmented and improved upon, but never replaced. Which makes sense: Like the web itself, his schema was shipped, good enough,and an improvement on the vacuum which preceded it. Those three big tags, as they’re called, work well with pop and rock written between 1960 and 1995. This didn’t prevent rampant mislabeling in the early days of the web, though, as anyone who remembers Napster can tell you. His system stumbles even more, though, when it needs to capture hip hop’s tradition of guest MCs or jazz’s vibrant culture of studio musicianship.
A controversial treatment shows promise, especially for victims of trauma.
It’s straight out of a cartoon about hypnosis: A black-cloaked charlatan swings a pendulum in front of a patient, who dutifully watches and ping-pongs his eyes in turn. (This might be chased with the intonation, “You are getting sleeeeeepy...”)
Unlike most stereotypical images of mind alteration—“Psychiatric help, 5 cents” anyone?—this one is real. An obscure type of therapy known as EMDR, or Eye Movement Desensitization and Reprocessing, is gaining ground as a potential treatment for people who have experienced severe forms of trauma.
Here’s the idea: The person is told to focus on the troubling image or negative thought while simultaneously moving his or her eyes back and forth. To prompt this, the therapist might move his fingers from side to side, or he might use a tapping or waving of a wand. The patient is told to let her mind go blank and notice whatever sensations might come to mind. These steps are repeated throughout the session.
For anyone who has ever caught some treacly adult contemporary on the radio and wondered “Who on earth likes this stuff?” while twisting the dial, a new study might have an answer. A bunch of softies, that’s who.
In the paper, published recently in the online journal PLoS One, Cambridge psychologist David Greenberg theorized that music tastes are determined in part by peoples’ tendency to fall into one of two rough personality categories: empathizers or systemizers. Empathizers are people who are very attuned to others’ emotions and mental states. Systemizers are more focused on patterns that govern the natural and physical worlds.
Over the course of multiple experiments that included 4,000 participants, listeners took personality questionnaires and then listened to and rated 50 pieces of music.
The Vermont senator’s revolutionary zeal has met its moment.
There’s no way this man could be president, right? Just look at him: rumpled and scowling, bald pate topped by an entropic nimbus of white hair. Just listen to him: ranting, in his gravelly Brooklyn accent, about socialism. Socialism!
And yet here we are: In the biggest surprise of the race for the Democratic presidential nomination, this thoroughly implausible man, Bernie Sanders, is a sensation.
He is drawing enormous crowds—11,000 in Phoenix, 8,000 in Dallas, 2,500 in Council Bluffs, Iowa—the largest turnout of any candidate from any party in the first-to-vote primary state. He has raised $15 million in mostly small donations, to Hillary Clinton’s $45 million—and unlike her, he did it without holding a single fundraiser. Shocking the political establishment, it is Sanders—not Martin O’Malley, the fresh-faced former two-term governor of Maryland; not Joe Biden, the sitting vice president—to whom discontented Democratic voters looking for an alternative to Clinton have turned.
The authors in the running for Britain's most prestigious literary award come from seven countries and include seven women writers.
The longlist for the Man Booker Prize, one of the most prestigious literary awards, was announced Wednesday. For the second year, the prize was open to writers of any nationality who publish books in English in the U.K., and this year five American writers made the list of 13 contenders, chosen by five judges from a pool of 156 total works.
The U.S. is, in fact, the most well-represented country, with other entrants hailing from Great Britain, Jamaica, New Zealand, Nigeria, Ireland, and India. There are three debut novelists and one former winner on the list, and women writers outnumber men seven to six. From dystopian and political novels to a multitude of iterations on the family drama, the selections capture the ever-changing human experience in very different ways.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
Forget credit hours—in a quest to cut costs, universities are simply asking students to prove their mastery of a subject.
MANCHESTER, Mich.—Had Daniella Kippnick followed in the footsteps of the hundreds of millions of students who have earned university degrees in the past millennium, she might be slumping in a lecture hall somewhere while a professor droned. But Kippnick has no course lectures. She has no courses to attend at all. No classroom, no college quad, no grades. Her university has no deadlines or tenure-track professors.
Instead, Kippnick makes her way through different subject matters on the way to a bachelor’s in accounting. When she feels she’s mastered a certain subject, she takes a test at home, where a proctor watches her from afar by monitoring her computer and watching her over a video feed. If she proves she’s competent—by getting the equivalent of a B—she passes and moves on to the next subject.
Every time you shrug, you don’t need to Google, then copy, then paste.
Updated, 2:20 p.m.
All hail ¯\_(ツ)_/¯.
In its 11 strokes, the symbol encapsulates what it’s like to be an individual on the Internet. With raised arms and a half-turned smile, it exudes the melancholia, the malaise, the acceptance, and (finally) the embrace of knowing that something’s wrong on the Internet and you can’t do anything about it.
As Kyle Chayka writes in a new history of the symbol at The Awl, the meaning of the “the shruggie” is always two, if not three- or four-, fold. ¯\_(ツ)_/¯ represents nihilism, “bemused resignation,” and “a Zen-like tool to accept the chaos of universe.” It is Sisyphus in unicode. I use it at least 10 times a day.
For a long time, however, I used it with some difficulty. Unlike better-known emoticons like :) or ;), ¯\_(ツ)_/¯ borrows characters from the Japanese syllabary called katakana. That makes it a kaomoji, a Japanese emoticon; it also makes it, on Western alphabetical keyboards at least, very hard to type. But then I found a solution, and it saves me having to google “smiley sideways shrug” every time I want to quickly rail at the world’s inherent lack of meaning.
50 years after closing its schools to fight racial integration, a Virginia county still feels the effects.
I was sitting in the dark den of the last living founder of the white private school I had attended, an academy established after public schools in my Virginia hometown were closed in 1959 to avoid desegregation. Having worked as a reporter for years, I was used to uncomfortable conversations. But this one felt different. This conversation was personal.
I wanted to interview Robert E. Taylor about desegregation in Prince Edward County and to find out how he felt about it in 2006, decades later. Weeks before his death, he told me he was still a “segregationist” and expressed no remorse for the school closings. Breathing with the help of an oxygen machine, he used tired stereotypes to describe black teenagers in my hometown as dating white teens, impregnating them, and leaving the teenage girls’ families with “pinto” babies that nobody would want.