August 14, 2025 On Photography Death at the Zoo By Kate Zambreno Jumbo the elephant. Unknown photographer. Courtesy of the Zoological Society of London. We begin the essay with an uncited photograph from history. Roland Barthes speaks of photographs of children from history, their innocence and morbidity. To look at an old photograph of children is to look at children who are long dead. But the same is true for archival photographs of zoo animals. What do you see when you look at this photograph? A grouping of children in Victorian dress on top of a very large elephant, with a man keeping the whole contraption at a standstill. From what can possibly be read of the expressions of children from a grainy photograph, they look expectant, excited—the child zoo feeling. The elephant’s expression is far more inscrutable. Exhausted, possibly. Or just present. So present that photographs of this famous elephant from history always emphasize how much its extremely mammoth body fills the entire frame, or has been herded into a small enclosure (in fact, anything large began to be called jumbo because of the dissemination of his absurdly large likeness in advertisements). Why does John Berger begin with a photograph of Jumbo the Elephant giving rides to children at the London Zoo? Perhaps to situate the Eurocentric nineteenth-century zoo attitude, a narrative of colonialism and alienation from labor (absent while present), a story of tragedy and absurdity, the only possible tonal registers for the history of capitalism. Here is a much clearer photograph than Berger opens with, and the expressions on the faces of the one female chaperone and the children, and the familiar male zookeeper, are far more squinted and uncertain, but it’s unclear whether that’s due to the extremely large animal they are astride or to the even-less-familiar performative moment of photography. Read More
August 13, 2025 Diaries Sims Diary By Devon Brody Photograph courtesy of Devon Brody. Friday, May 2, 4 P.M. It’s been a while since I visited the household that my Sim shares with Rian, the Sim I made for my partner, Ryan. In the game we live with our two youngest kids, two dogs, a cat, a cow, and a number of chickens. I’ve been nervous: even though she’s on the Long setting for lifespan, it seems like she’s heading toward death. To keep her alive, I’ve been playing with our older kids and grandkids. They moved out as Young Adults to live on separate lots nearby. Sometimes I get them to invite me over for dinner. But everything at our house seems to be as I left it. I’m holding Fiona, the cat, and our son Fielding is holding Rye, the puppy. There’s a purple onion on the grass. Rian’s Chatting on the computer in our bedroom. I direct him to work on the garden, where some of the plants need to be Watered and Sprayed for Bugs. In this world he’s a stay-at-home dad. I work two days a week as a Creator of Worlds, the highest tier in the Author track of the Writer career. Would I have chosen a different career if my real job had been an option? Luckily it’s impossible to say. My Sim Goes to work two days a week and spends the rest of the time hanging out with her family and Writing on her computer. She’s very good at Writing—she’s already Published a Bestseller. I love whoever maintains the game’s patterns of capitalization; their work is imperfect and I imagine a series of interns, each of whom thought their summer job in tech would be something else. Maybe like the person assigned to fact-check my last piece about The Sims: “okay, i’m seeing this character referred to as the Grim Reaper more frequently than Death but both seem fine. also, i can’t confirm that in Sims 2 he can show up at Sims’ houses and eat a sandwich.” Billie, the adult dog, is sick. I don’t have work for a few days, so I take her to the vet. I make enough money between my job and the royalties from all the books I’ve Published that I don’t think twice when I Spare No Expense at the clinic. Billie is instantly better and we Go home. Read More
August 12, 2025 Document Erasure Notebooks By Mary Ruefle A Pop creation myth. Photographs courtesy of Erin McKenny. Mary Ruefle, the poet and essayist, also makes unique hand-altered books: she sources, from thrift shops and used bookstores, secondhand texts from the late nineteenth and early twentieth centuries. Then she goes through the pages and deselects words, applying liquid correction fluid, gouache, or other methods of obliteration. What remains is a kind of excavated composition. Her erasure texts range from slapstick to the absurd, from the lyrical to a wry melancholy. Ruefle, who is based in Vermont, has been making erasures, which she illustrates with collages, almost daily since 1998. Usually working on two pages a day, she has completed more than one hundred and twenty-five erasures to date, a selection of which are now on view through September 6 at Poets House in Downtown Manhattan—and several of which we’re presenting here. —John Vincler An existential novelization of a bird, M, crashing into his own reflection. Read More
August 11, 2025 On Music Drake, in Search of Lost Time By Benjamin Krusling Image generated by Sora, August 4, 2025. Disappointment has a placid surface—the word is buttoned-up, its gesture to an inner world prioritizing mild description over emotional urgency, an indication simply that what one wished for went left, fell short. Admitting disappointment in others, in circumstances, can be a moment of quiet devastation, but to describe something as “disappointing” is a means of forestalling tears, putting them on the other side of a line. In pop culture, Drake is disappointment’s mouthpiece and its walking embodiment—it’s almost all he talks about and all one seems to hear about his music and persona. At his best, he is disappointment’s major-label poet, if you’re still willing to go there with me now that his utter ubiquity and industrial-strength productivity have, in the last decade, evacuated what remained of those early days of critical respect. Just as disappointment doesn’t often bring more than a few tears to the eye, Drake’s songs don’t, or don’t let themselves, go loudly to that part of the spirit that cries out for something more. Almost every song, always mixed to a streaming-optimized sheen, is a litany of feelings that are ever so slightly bitter, muted, a half Xan’s worth of narcotized. Psychological and calculating but only rarely soulful, just ceaseless solipsism cut sometimes by the urge to seduce or make music for women to dance to, all delivered with the charming evenness of the lounge singer whose chief pleasure is to give you what you came for. Read More
August 7, 2025 First Person The United States vs. Sean Combs By Harmony Holiday Sean Combs in 2010. Photograph by John Seb Barber, via Wikimedia Commons. Licensed under CC BY 2.0. A Great Villain Is a Great American Prisons are American tourist attractions, and criminals who become fugitives or inmates our outlaw heroes—Al Capone, Alcatraz, Charles Manson, Sing Sing, Angola, Luigi Mangione, O. J. Simpson, Diddy, né Sean Combs. A collective underdog fetish means that the image of a civilian outwitting, outrunning, or confronting “the man” is enough to negate his trespasses. Maybe achieving the apotheosis of success in the United States requires becoming a convict, being threatened with or facing real incarceration and exile, doing time, paying dues, and making a grand comeback. At that finale you can sell that story to restore your fortunes, dignity, and maverick glory. Combs is the latest public figure to go from celebrated to disgraced to tentatively redeemed in some eyes by a show trial and the masculine compulsion to cheer when men get away with terrorizing women. The rapper Jay Electronica stood outside of the courtroom with his two Great Danes on the day the verdict was delivered, and announced, “I’m just here supporting my brother.” He looked half-ashamed, half-deviant about it, like he was both courting and afraid of backlash. Others call Diddy’s comeuppance a legal lynching, insinuating he’s a survivor of a because-he’s-black character assassination, since other powerful, abusive men have yet to be held accountable. It’s a truly American malfunction, this belief that the once oppressed should have the freedom to become as evil and ruthlessly decadent as their oppressors. This is what is sold to the public as prestige, and imitations of it exist at every stratum. With this in mind, Diddy’s story could be construed as a bootstraps tale—from Harlem to Howard to Hollywood endings. His recent downward spiral might be just another buoy, one that will help him ascend anew. Hip-hop music understands this about the American subconscious, taps into these delusions of impunity for material, and dresses its best emcees in rap sheets, threats, beef, high and low-level street violence—sometimes actual death and martyrdom. Even the so-called success stories who sell the genre out to the mainstream cannot be too clean—they better be rumored to run a trap house, attract a harem of groupies, and defy the legal system if they expect to maintain credibility. As the wealth of those at the top has increased, their criminality has grown reckless and entitled, blasé even, but no less compulsory. Now it’s tied more to contracts, NDAs, and designer drugs than to desperation to break through; they run media companies, liquor brands, parts of the NFL. In June 2022 Diddy was granted BET’s Lifetime Achievement Award and thanked, among others, Cassie Ventura, his on-and-off girlfriend between 2011 and 2018, for holding him down in the dark times. That same year, he dressed as the Joker for Halloween. He was so creepy and persuasive in his white face and sleaze that many didn’t know it was him in the costume; it felt like a mimed confession of his true attributes. In 2023, New York’s mayor, Eric Adams, presented Diddy with the coveted key to the city. The key was returned the following summer, after news began circulating that Combs had abused Ventura. In September of 2024, Combs was taken into custody by the Southern District of New York and held without bail on RICO charges of sex trafficking by force, fraud, or coercion and transportation to engage in prostitution. He was considered a flight risk and a threat to potential witnesses. His loyalists formed a hush harbor. This month, he was acquitted of the most serious charges and cheered on by many who seem to feel vicariously acquitted themselves ready to get back to a White Party or freak-off; when he’s released from prison, it seems likely he’ll be offered a hero’s reentry, a new lease on cultural domination and indiscriminate sexcapades, a new deal, as if he’s some kind of New Age abolitionist. Villainy was good for business. Read More
August 6, 2025 Rereading A Duel or a Duet: On Graham Greene By Yiyun Li Graham Greene. Unknown photographer, public domain. Courtesy of Wikimedia Commons. Two moments in Graham Greene’s published life have often returned to me in the past twenty years. This may sound strange: an ideal reader should refrain from crossing the boundary between a writer’s work and his life. And yet it is inevitable: rarely does an author have the luxury of having no known biography. Greene, having written about his life and having had his life extensively written about by others, remains near when one reads his work—not insistently dominating or distracting, as some writers may prove to be, but as a presence often felt and at times caught by a side glance. The first moment appears in Greene’s memoir Ways of Escape. In a chapter about Brighton Rock, which Greene called a labour of love, he explains the original inspiration for the novel with a reminiscence about the first film he saw at age six—a silent film about a kitchen maid turned queen, with live music played offscreen—he writes, “Her march was accompanied by an old lady on a piano, but the tock-tock-tock of untuned wires stayed in my memory when other melodies faded … That was the kind of book I always wanted to write: the high romantic tale, capturing us in youth with hopes that prove illusions, to which we return again in age in order to escape the sad reality.” The second moment appears in Graham Greene: An Intimate Portrait by His Closest Friend and Confidant by Leopoldo Duran. In 1983, Father Duran accompanied Greene on a journey to Spain for the filming of his novel Monsignor Quixote. At a Trappist monastery, Father Duran noticed an elderly monk, Father Juan. “I saw him, standing discreetly apart, at the entrance to the porter’s lodge, learning on this walking stick, chin in both hands, and totally absorbed by these people and the strange things they were doing … With seventy years’ experience of Trappist rule behind him, Father Juan did not want to go to heaven without seeing how films were made.” Read More