- The FBI kept a file on James Baldwin that ran to 1,884 pages. What was in it? Reasonably adept criticism, among other things: “The mixed bag of memos, letters, and clippings that composed the typical FBI author file included more than espionage reports … It also included outbursts of literary critical prose, a type of writing judgmental in nature, but always indebted to the prior writing it describes. FBI author files thus qualify as recognizable works of literary commentary, as state-subsidized assessments and interpretations quietly warring with those produced by English professors and less stuffy book reviewers.”
- A new exhibition at the New York Society Library, “Readers Make Their Mark,” collected annotated books from the sixteenth to the twentieth centuries, thus continuing the culture’s growing fascination with marginalia. “Sometimes they are making proclamations about their own books: George Bernard Shaw identifies a printed text of his Too True to be Good as a ‘Provisional Prompt Copy’ for a particular production and calls it ‘Frightfully Private. No Press Agent to be let near it.’ And sometimes—as in the case of an early woman reader who judges the characters in Emma, one by one—they respond to their books in ways that still seem familiar.”
- “Let’s get out of here” is one of the most common lines in film—people in movies just love to leave places. “It confers agency on whoever says it. It draws a line under what’s gone before. It propels action. It justifies a change of scene, no matter how abrupt.” But in more contemporary movies, “getting out of here” faces stiff competition from its longtime nemesis, “staying put.” “This emphasis on staying suits our times: The people writing and watching these movies are all part of an introspective, if not isolationist, culture that’s still licking its wounds after plotless wars and a traumatic recession.”
- Is there anything more insufferable than our current predilection for all things twee? “Twee is a symptom of profound cultural exhaustion, a pop-cultural response to the death of grand narratives and radical politics: too weary to fight the corporate capitalist machine, the twee instead create hyper-stylized alternative worlds in which kittens play, ukuleles sound and childhood is eternal. Their basic disposition is melancholy rather than angry, and they will always opt for owl-print wallpaper over kicking against the pricks.”
- I’ve always dreamed of winning an Oscar—I could put it up for auction, I thought, and make a lot of money, and that would be cool. But it turns out that selling your Oscar trophy is a great way to get sued by the Academy. In fact, the Academy thrills to a good lawsuit; they’ve also brought suits against “television shows that use the name ‘Oscar’ (i.e., ‘The Wine Oscars’); a website that predicts Oscar winners; and a chocolate-maker who produced Oscar-shaped candies.” Next up: people named Oscar, or people related to those people.
A panda painting, small-claims court, and the perils of communal living.
Of the many collectives in West Philadelphia, the Mitten was widely held to be the ideal model. Founded by six young progressives from the Inter-cooperative Council in Michigan, it hosted workshops on social justice and fundraised for local nonprofits. And it was a staple of the queer-arts scene: punk bands played in the basement and drag shows filled the living room, with performers grinding on audience members and audience members grinding on banisters. In the adjacent lot they had grown a lush garden with six raised beds and a chicken coop.
When I first moved to Philadelphia, I was eager to join a house like this one—but brimming with collaborative energy, they were in high demand, and the ones I found lacked the character and spirit that’d drawn me to communal living in the first place.
I was impatient, though, and took a room in Cedar Park, aka “University City,” at an A-frame Victorian with a huge mulberry tree. The quaint facade hardly matched its sterile interior: overhead lighting reflected off marble countertops, the white walls were bare, and there was La-Z-Boy furniture in suburban quantities. This collective included five members, young professionals who, surprisingly, spent the majority of time away from the house, staying often with their partners. A math teacher, a product engineer, a classical vocalist and a software designer—they were mild and even a little shy. But one of the members, Jeff, maintained a particular enthusiasm for the house. He spoke in an affectedly deep voice, noticeably straining as he described the order of things: regular meals “kept costs down”; adherence to the chore wheel “kept everything running smoothly.” He appeared to be the oldest by a significant difference; his skin had a jaundiced tint, and his goatee was visibly grayed. A baseball cap covered his bald head, and in his beige clothing he nearly blended with the plush chairs in the living room. Read More