In the Current Issue
Notes from the Fog
By Ben Marcus
The Radical Notion of a Smartphone-Free Campus
By Christopher SchabergThere’s a scene in Don DeLillo’s story “Midnight in Dostoevsky” that reflects on the current omnipresence of digital media and the relative oasis that the college classroom can be. Here we are in a laughably self-serious logic seminar, wher…
The Daily
On Technology
Break It Down
By Lydia DavisHe’s sitting there staring at a piece of paper in front of him. He’s trying to break it down. He says,
From the Archive, Issue 88
Fiction
The Magic of Handwriting
By The Paris ReviewThe Romans were among the first to develop a written script, and their penmanship was round and even. In the Middle Ages, the price of parchment soared, and handwriting, accordingly, became small and condensed. Years later, in the eighteenth century,…
The Daily
Look
Goodbye, Columbus
By Philip RothThe first time I saw Brenda she asked me to hold her glasses. Then she stepped out to the edge of the diving board and looked foggily into the pool; it could have been drained, myopic Brenda would never have known it. She dove beautifully, and a moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up, straight ahead of her, as though it were a rose on a long stem. The rose glided dry to the edge and then it was beside me. “Thank you,” she said, h…
From the Archive, Issue 20
Fiction
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Glenn Gould Is Always on Fast-Forward
By Katharine KilaleaRevisited is a series in which writers look back on a work of art they first encountered long ago. Here, Katharine Kilalea revisits Glenn Gould playing Bach’s Partita No. 1 in B-Flat Major. Driving home from the swimming pool one day, I listened …
The Daily
Revisited
Small Miracles
By Joyce Carol OatesAfter the first death there is a shrinking. Miracles to fit in a spoon. The sun rolling crazy and free as the wheel of an old baby buggy.
From the Archive, Issue 79
Poetry
A Portfolio and an Interview
By Ernst FuchsErnst Fuchs was born February 13, 1930, in Vienna. He began his artistic training at the Vienna Academy of Fine Arts under Prof. Albert Paris Gutersloh in 1945. Fuchs is the founder of the so-called Viennese School of painters of the surrealistic and fantastic. Most of the members of this group have been students of his at one time or another to learn the old-master technique which he has developed to a high degree of perfection by painstaking study of the Netherlandish Mannerists and the Venetians.
From the Archive, Issue 30
Art & Photography
Amy Sillman and Tom McGrath
By David SalleAmy Sillman and Tom McGrath are very different kinds of New York artists—Amy a modern-day action painter, Tom a new breed of realist—who share an ontological approach to the problem of pictorial staging: What is this thing I am making, they ask, and how can it be said to “represent” anything other than itself?
