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Posts Tagged ‘money’

Sunrise Solved, and Other News

September 5, 2014 | by

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Claude Monet, Impression, Soleil Levant.

  • Intellectuals and academics: step up your game! “Social docility, strong convictions of one’s personal impotence, infinite procrastination, plus, one surmises, the regular protestation that people must be able to get on with their proper job—their research and teaching—these excuses and tendencies prevent our noticing that the end of the world is nigh.”
  • Art historians have never settled the issue of when Monet’s Impression, Soleil Levant was painted. Now a physicist has used “astronomy, tide tables, weather reports, maps and historical photos to calculate the precise time.” If you’d guessed November 13, 1872, around 7:35 A.M., you’re right!
  • How did we come to care so much about creativity? The language surrounding it, of unleashing, unlocking, awakening, developing, flowing, and so on, makes it sound like an organic and primordial part of ourselves which we must set free—something with which it’s natural to be preoccupied. But it wasn’t always so; people didn’t always care so much about, or even think in terms of, creativity.”
  • $$ GET PAID TO READ $$ A new grant “would allow writers to take three months’ leave to read the work of their fellow authors.”
  • Gentlemen, this is no humbug”: how nitrous oxide, which began as a nineteenth-century recreational drug, became anesthesia.

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In Defense of Fanny Price

July 10, 2014 | by

Mansfield Park at two hundred.

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A publicity still of Billie Piper as Fanny Price in a 2007 adaptation of Mansfield Park.

Poor Fanny Price. The unabashedly mousy, pathologically virtuous protagonist of Mansfield Park—which turns two hundred this year—is Jane Austen’s least popular heroine. She spends most of the novel creeping around the periphery of the titular park, taciturn and swallowing tears; she tires after the briefest of physical exertions; she looks down on her wealthier cousins for engaging in flirtatious amateur theatrics; and for most of the book’s five hundred pages, she refuses to voice her long-held love for her cousin Edmund.

Austen’s own mother reportedly found Fanny “insipid”; the critic Reginald Farrer described her as “repulsive in her cast-iron self-righteousness and steely rigidity of prejudice.” Even C. S. Lewis—in the voice of his demon Screwtape in The Screwtape Letters—let loose a vitriolic rant about Austen’s most priggish heroine, calling her “not only a Christian, but such a Christian—a vile, sneaking, simpering, demure, monosyllabic, mouselike, watery, insignificant, virginal, bread-and-butter miss … A two-faced little cheat (I know the sort) who looks as if she’d faint at the sight of blood, and then dies with a smile … Filthy, insipid little prude!” Even if we are to separate Lewis from Screwtape, it’s difficult to see Fanny as anything but, to quote Nietzsche’s famous description, “a moralistic little female à la [George] Eliot.”

And indeed, those who defend Fanny tend to see her as a Christian heroine in the mold of a Dorothea Brooke. As the Austen biographer Claire Tomalin puts it, “it is in rejecting obedience in favor of the higher dictate of remaining true to her own conscience that Fanny rises to her moment of heroism.” But to read Mansfield Park as a kind of Middlemarch is to miss the far more complicated story Austen has told. Fanny Price’s story is less about her individual virtue, or her richer relatives’ lack thereof, but about class, about privilege in its most insidious form—before the term ever cropped up in contemporary social justice discourse. Fanny isn’t moral or upright because she wants to be, but because the role—along with a whole host of so-called middle-class values—is forced upon her. For all we know, she may well wish to be as carefree, as filled with dynamic sprezzatura, as Woodhouse or Elizabeth Bennet, Austen’s more fortunate heroines, but the social dynamic, and the circumstances of her birth, deny her the security necessary for such frivolity. Fanny has too much at stake to be easygoing. Read More »

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Alice Munro Is Legal Tender, and Other News

March 26, 2014 | by

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Photo: Royal Canadian Mint

 

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The Actual Return Upon Taxable and Tax-Exempt Securities

March 7, 2014 | by

It’s late, and you’re still awake. Allow us to help with Sleep Aid, a series devoted to curing insomnia with the dullest, most soporific prose available in the public domain. Tonight’s prescription: “The Actual Return Upon Taxable and Tax-Exempt Securities,” first published in the War Taxation: Some Comments and Letters, in 1917.

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Wilhelm Schumann, The Sleeping Embroiderer, 1838.

Dear Sir:

Your letter indicates that you do not sufficiently realize the enormous advantage in interest yield which under the income tax schedule as fixed in the House Bill is possessed by tax-exempt securities as compared to taxable securities, especially, of course, in respect of large incomes.

Permit me to call your attention to the following eloquent facts:

The yield of tax-exempt securities at prevailing prices ranges from 3-1/2% to nearly 4-1/2%. Under the rates fixed in the War Revenue Bill as it passed the House of Representatives, a taxable 6% investment would yield:

 

 

per annum

2.28%

 on incomes over

 $2,000,000

2.34%

“““

1,500,000

2.40%

“““

1,000,000

2.69%

“““

500,000

2.97%

“““

300,000

3.26%

“““

250,000

3.54%

“““

200,000

3.90%

“““

150,000

4.20%

“““

100,000

Read More »

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Staff Picks: Booker Gossip, Wittgenstein Gags

October 15, 2010 | by

Howard Jacobson, the winner of this year's Man Booker Prize. Photograph by Luke MacGregor.

Two years ago, in honor of the fortieth anniversary of the Booker Prize, The Guardian dredged up a judge from every single year willing to dish on the behind-the-scenes goings-on: Wives promote their husbands' books; punches are thrown; Salman Rushdie is insulted. Another Booker-related treat: a funny and surprisingly poignant profile of aging table-tennis great Marty Reisman, written in 1999 by this year’s winner, Howard Jacobson (once a ranked junior table-tennis player in England), published for the first time in the U.S. this week by Tablet Magazine. Sample description of Marty: “a leftover Beat poet about to read to a bunch of contemporary kids in a non-English speaking country.” —Miranda Popkey

“A typical Wittgenstein gag was drawing an arrow to the ‘W.C.1’ in a London address on a letter he was going to mail and writing, ‘This doesn’t mean ‘Lavatory.’” If the great man finding amusement in such things tickles you—and it really should—you’ll enjoy the rest of Jim Holt’s little book Stop Me If You’ve Heard This: A History and Philosophy of Jokes. And oh yes, French children are apparently fond of jokes about the fantastical creature known as the zizi tordu, or “twisted penis.” Now you’ll read the book, won’t you. —Mark de Silva

A History of Love, by Nicole Krauss. I was pulled in by the fluid, experimental structure and kept reading because Krauss, like Roth, gets Jewish families exactly right. Elie Wiesel wrote that the ambivalent “and yet” is the most Jewish of phrases; it is also protagonist Leo Gursky’s constant refrain. —Kate Waldman

The novelist Douglas Coupland previews his upcoming, five-part Massey Lecture on the culture of our near-future in the Globe and Mail. And Vaughan Bell looks backward, to an era in which murder was among our most social and democratic activities. —David Wallace-Wells

Zadie Smith has a short essay in The New Yorker's money issue about lending funds to a friend. I appreciate her honesty: “Until this episode, I’d thought of myself as a working-class girl who’d happened upon money, my essential character unchanged. But money is not neutral; it changes everything, including the ability to neutrally judge what people will or will not do for it.” Bonus: Zadie was a young violist, just as I was! —Thessaly La Force

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