New York magazine has a new Anthony Weiner profile by Mark Jacobson. Somepeople are already giggling at what appears to be the writer's crush on Huma Abedin, Weiner's wife. Given that Abedin is strikingly lovely in every photo that's been circulated of her, that hardly seems all that noteworthy. But that's not to say there's nothing worth noting about the profile's descriptions of Abedin. Let's take a look at one of the paragraphs Isaac Chotiner at The New Republic highlighted as one of the "silliest/creepiest tidbits":
She approached in a knit white top and navy-blue business skirt, her dark, almost black hair down to her shoulders. She wore bright-red lipstick, which gave her lips a 3-D look, her brown eyes were pools of empathy evolved through a thousand generations of what was good and decent in the history of the human race. The harsh, cheap buck lighting in the coffee shop couldn't lay a glove on her. By the time she sat down, the harmony of angels had vanquished the tinny background music from every corporate space on the planet. Of course, you'd seen pictures before. But you'd also seen pictures of the Taj Mahal. It didn't quite come up to actually being there.
Hold it right there. I hate to join the Internet outrage machine, but my problem with this paragraph has nothing to do with whether or not Jacobson is attracted to Abedin. (Who cares, and who isn't?)
My problem is that Jacobson couldn't have written a better paragraph to illustrate what's known as "orientalism" if he had tried. This reads like someone is trying to troll Edward Said.
Let's start with the red flag that should have alerted the editors that a little more work was needed here: comparing Abedin to the Taj Mahal, the icon of Indo-Islamic architecture. (Abedin is a Muslim whose parents were born in India and in Pakistan.)
First, this is crude. As an editorial matter, you probably want to strike out comparisons of Brigitte Bardot to the Eiffel Tower (for example) on your daily cliché watch. Second, though, in terms of racial sensitivity, this is less like comparing Bardot to the Eiffel Tower than comparing Tyra Banks to the Serengeti. As great as it may sound in the mind of a sleep-deprived writer on deadline, it should never, ever make it to print.
This is a tricky point to make delicately, because it's certainly true that there's a lot of manufactured indignation on the web, and I'm not convinced that much good comes from examining every written word in search of the politically incorrect just to have something to talk about. But that isn't a reason to ignore harmful stereotypes -- and what's remarkable about this particular paragraph of stereotyping is that people are not calling it out ... possibly because Internet sensitivity isn't set equally high for all ethnic categories.
Because I was an equal-opportunity skimmer of reading assignments in college, I never had much time for Said, just as I never had much time for Adam Smith. But somewhere along the line, probably while listening to female friends of South Asian extraction talk about feeling exoticized by American men they were trying to date, something sank in.
At the heart of Said's critique of Western treatment of the "Orient" is the observation that even romanticizing something is a way of diminishing it, rendering it two-dimensional. "Orientalism," according to the postcolonialists, is about emphasizing the differences between East and West, exoticizing them, seeing one, for example, as spiritual and the other as material: "By the time she sat down, the harmony of angels had vanquished the tinny background music from every corporate space on the planet." Or seeing one as ancient and the other as modern: "her brown eyes were pools of empathy evolved through a thousand generations of what was good and decent in the history of the human race." In fact, Said was particularly cognizant of the way these trends manifested in Western perceptions of Eastern, Muslim women, in part because he felt the sexualization of the Orient was vital to Western justification for imperialism: the East was a female sex object ready for Western male penetration--the veil was made to be removed. Completely unintentionally, this paragraph, with its joint focus on Abedin's beauty and her otherness, is a classic of the genre.
Don't giggle at Jacobson for admiring Huma Abedin, and don't shame him for resorting to handy cultural references when trying to communicate with his readers, either. As a time-pressed editor myself, I'm reluctant to trash-talk editors every time something slips by. But this was a print profile, not a 20-minute or even two-hour post on the website. Next time, catch this. A paragraph like this has no business in a serious magazine. It certainly has no place in a piece seeking to illuminate a civic choice the voters of New York City will make at the polls this November.
We're all going to die and we all know it. This can be both a burden and a blessing.
In the heart of every parent lives the tightly coiled nightmare that his child will die. It might spring at logical times—when a toddler runs into the street, say—or it might sneak up in quieter moments. The fear is a helpful evolutionary motivation for parents to protect their children, but it's haunting nonetheless.
The ancient Stoic philosopher Epictetus advised parents to indulge that fear. “What harm is it, just when you are kissing your little child, to say: Tomorrow you will die?”he wrote in his Discourses.
Some might say Epictetus was an asshole. William Irvine thinks he was on to something.
“The Stoics had the insight that the prospect of death can actually make our lives much happier than they would otherwise be,” he says. “You’re supposed to allow yourself to have a flickering thought that someday you’re going to die, and someday the people you love are going to die. I’ve tried it, and it’s incredibly powerful. Well, I am a 21st-century practicing Stoic.”
People look to Amy Schumer and her fellow jokers not just to make fun of the world, but to make sense of it. And maybe even to help fix it.
This week, in a much-anticipated sketch on her Comedy Central show, Amy Schumer staged a trial of Bill Cosby in “the court of public opinion.” Schumer—her character, at any rate—played the role of the defense. “Let’s remind ourselves what’s at stake here,” she argued to the jury. “If convicted, the next time you put on a rerun of The Cosby Show you may wince a little. Might feel a little pang. And none of us deserve that. We don’t deserve to feel that pang.”
Her conclusion? “We deserve to dance like no one’s watching, and watch like no one’s raping.”
Ooof. This is the kind of thing that gets Inside Amy Schumer referred to as “the most feminist show on television,” and her act in general called, in a phrase that reveals as much about her craft as about Schumer herself, “comedy with a message.” But while Schumer’s work is operating at the vanguard of popular comedy, it’s also in line with the work being done by her fellow performers: jokes that tend to treat humor not just as an end in itself, but as a vehicle for making a point. Watch like no one’s raping.
Caves and tunnels have always been part of human life.
Caves and tunnels have always been part of human life. We've grown more adept at shaping these underground shelters and passages over the millennia, and today we dig for hundreds of reasons. We excavate to find both literal and cultural treasures, digging mines and unearthing archaeological discoveries. We use caverns for stable storage, for entertainment, and for an effective shelter from natural and man-made disasters. And as the planet's surface becomes ever more crowded, and national borders are closed, tunnels provide pathways for our vehicles and for smugglers of every kind. Collected below are more recent subterranean scenes from around the world.
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.
New research confirms what they say about nice guys.
Smile at the customer. Bake cookies for your colleagues. Sing your subordinates’ praises. Share credit. Listen. Empathize. Don’t drive the last dollar out of a deal. Leave the last doughnut for someone else.
Sneer at the customer. Keep your colleagues on edge. Claim credit. Speak first. Put your feet on the table. Withhold approval. Instill fear. Interrupt. Ask for more. And by all means, take that last doughnut. You deserve it.
Follow one of those paths, the success literature tells us, and you’ll go far. Follow the other, and you’ll die powerless and broke. The only question is, which is which?
Of all the issues that preoccupy the modern mind—Nature or nurture? Is there life in outer space? Why can’t America field a decent soccer team?—it’s hard to think of one that has attracted so much water-cooler philosophizing yet so little scientific inquiry. Does it pay to be nice? Or is there an advantage to being a jerk?
The danger of uploading one’s consciousness to a computer without a suicide switch
Imagine a supercomputer so advanced that it could hold the contents of a human brain. The Google engineer Ray Kurzweil famously believes that this will be possible by 2045. Organized technologists are seeking to transfer human personalities to non-biological carriers, “extending life, including to the point of immortality.” My gut says that they’ll never get there. But say I’m wrong. Were it possible, would you upload the contents of your brain to a computer before death, extending your conscious moments on this earth indefinitely? Or would you die as your ancestors did, passing into nothingness or an unknown beyond human comprehension?
The promise of a radically extended lifespan, or even immortality, would tempt many. But it seems to me that they’d be risking something very much like hell on earth.
Along with the Nancy Drew series, almost all of the thrillers in the popular teenage franchise were produced by ghostwriters, thanks to a business model that proved to be prescient.
In the opening pages of a recent installment of the children’s book series The Hardy Boys, black smoke drifts though the ruined suburb of Bayport. The town's residents, dressed in tatters and smeared with ash, stumble past the local pharmacy and diner. Shards of glass litter the sidewalk. “Unreal,” says the mystery-solving teenager Joe Hardy—and he's right. Joe and his brother Frank are on a film set, and the people staggering through the scene are actors dressed as zombies. But as is always the case with Hardy Boysbooks, something still isn’t quite right: This time, malfunctioning sets nearly kill several actors, and the brothers find themselves in the middle of yet another mystery.
For those who didn't go to prestigious schools, don't come from money, and aren't interested in sports and booze—it's near impossible to gain access to the best paying jobs.
As income inequality in the U.S. strikes historic highs, many people are starting to feel that the American dream is either dead or out of reach. Only 64 percent of Americans still believe that it’s possible to go from rags to riches, and, in another poll, 63 percent said they did not believe their children would be better off than they were. These days, the idea that anyone who works hard can become wealthy is at best a tough sell.
What it’s like to watch a komodo dragon get dissected
Try to imagine how hard it would be to skin a Komodo dragon.
It is harder than that.
The problem is that the giant lizard’s hide is not just tough and leathery, but also reinforced. Many of the scales contain a small nugget of bone, called an osteoderm, which together form a kind of pointillist body armor. Sawing through these is tough on both arms and blades.
I’m at the Royal Veterinary College, about 20 kilometers outside of central London, watching four biologists put their shoulders into the task. A Komodo dragon, which recently died in London Zoo for unexplained reasons, lies on a steel gurney in front of them. Their task, over the next three days, is to dissect it and measure all of its muscles. So, first, the skin must come off.
A song from 2011 is causing controversy now, proving how slowly the genre’s attitudes about women are evolving.
The rapper Action Bronson, whose major-label debut came out recently, is mostly known for his love of food, his large frame, and the fact that he sounds so much like Ghostface Killah that even Ghostface Killah gets confused sometimes. He will likely now be known by more people for one particular lyric of his, due to a headline-making petition asking Toronto’s NXNE music festival to kick the artist off the bill because, in its words, he “glorifies gang-raping and murdering women.”
The lyrics in question come from the 2011 song, “Consensual Rape,” which has a verse that mentions giving a girl MDMA and then having very rough sex with her. The petition also calls out a 2011 music video that portrays Bronson happily disposing of a woman’s corpse.