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Posts Tagged ‘money’

Ready Player None

January 7, 2016 | by

Talking to Jonathan Blow about his new game, The Witness.

From The Witness.

“Don’t print this,” Jonathan Blow tells me. I’ve just asked him how his game The Witness is going to end, having spent an hour playing it alone at the Bryant Park Hotel—in a suite I’d discovered was actually Blow’s personal room when I got a glass of water. He’d gone to the lobby so I wouldn’t feel like I was being watched as I played. I felt immediately conscious of being in someone else’s space as I stepped through the bedroom to reach the bathroom sink. The bed was still unmade; a small bag sat agape on a chair beside a pile of clothes in the corner. Blow’s games excel at making one conscious of these things: of being in someone else’s territory, at once intimate and opaque. Like unknowingly stepping into someone’s bedroom, it’s natural, when you play his games, to want to make sure you can find your way back out again, even as you think about going further in.

Blow is the designer of two commercial games—2008’s Braid and now The Witness, due out later this month—and he’s as much a point of fascination as his creations. A 2012 profile in The Atlantic by Taylor Clark called him “the most dangerous gamer.” Though Braid added, by his own admission, “a lot of zeroes” to his bank account, he lives in a largely unfurnished apartment in Oakland, displaying what Clark described as “a total indifference toward the material fruits of wealth.” His longtime friend and programmer, Chris Hecker, told Clark, “You have to approach Jon on Jon’s terms. It’s not ‘Let’s go out and have fun.’ It’s more like ‘Let’s discuss this topic,’ or ‘Let’s work on our games.’ You don’t ask Jon to hang out, because he’ll just say ‘Why?’ ” Read More »

Beauty

July 22, 2015 | by

From a 1960s Avon ad.

There are certain unpleasant life experiences that are not palliated by the fact that you know that they’re meaningless. I am speaking here of something specific: the particular horror of being pressured into spending money on things you know you do not want.

When I was seventeen and had to go to the prom with a senior in my homeroom, my mom and I went to Nordstrom so I could buy some simple makeup. Neither of us wore any. My mom entrusted me with a credit card, went to do something else, and came back an hour later to find me miserable, clown-like, clutching a tiny bag and having spent a hundred dollars, then an astronomical sum. And somehow it was very hard to explain to her that the saleswoman had had a wooden leg, and I’d felt unable to deny her anything. I used the lipstick for six years, to justify it, even though the color looked very strange, and it was quickly caked with sand and grit. Read More »

The Sam Weller Bump

April 14, 2015 | by

Dickens the authorpreneur.

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Bigger than the Zuckerberg Bump, bigger even than the Colbert Bump or the Oprah Bump—arguably the most historic bump in English publishing is the Sam Weller Bump, triggered not by a tastemaker with a megaphone but a sharp-talking, warm-hearted servant.

In June 1836, Charles Dickens published the fourth installment of his first novel, The Pickwick Papers, one of the many shilling monthlies that were the backbone of Victorian publishing. Printed on low-cost acidic paper and sold in pale green wrappers, they were aimed at the middle and newly literate working classes on the lookout for entertaining fare. But many of these readers had grown accustomed to the gobbets of melodrama offered by the cheap press—they were utterly uninterested, then, in the picaresque misadventures of Mr. Pickwick and his chums as they bowled through England collecting scientific information for the betterment of mankind. The first three installments of Pickwick barely sold four hundred copies.

But that June, sales began to grow by orders of magnitude: from four hundred to four thousand to an astounding forty thousand as the serialization drew to a close in November 1837. Everyone up and down the social ladder began to devour Pickwick, from butchers’ boys to John Ruskin, who read Pickwick so often he claimed to know it by heart. Copies were passed from hand to hand and read aloud as family entertainment. The critics effused with praise. Dickens, who was twenty-four and expecting his first child, had become a household name. Read More »

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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