The Trouble with Clint by Jacob Krell [Los Angeles Review of Books]
“Clint Eastwood is many things to many people, but contemporary critics tend to agree that he is an auteur, i.e., someone with real directorial insight, care, and reach, someone whose individual artistic stamp can and should be used as a heuristic lens. Insofar as so much of his early career as an actor found him traipsing through the storied landscapes of American westerns and action films, it’s hardly surprising that Eastwood’s own directorial mark is often constituted through toying with genre, as he’s done with the western, to acclaimed effect (Unforgiven); with the boxing drama, to acclaimed (and deeply manipulative) effect (Million Dollar Baby); and with the B-movie, to effect somewhere between perplexing and appalling (Gran Torino).”Previously. Previously. Previously.
The Writer As Reader: Melville and his Marginalia In the General Rare Books Collection at Princeton University Library sits a stunning two-volume edition of John Milton that once belonged to Herman Melville. Melville's tremendous debt to Milton — and to Homer, Virgil, the Bible, and Shakespeare — might be evident to anyone who has wrestled with the moral and intellectual complexity that lends Moby Dick its immortal heft, but to see Melville's marginalia in his 1836 Poetical Works of John Milton is to understand just how intimately the author of the great American novel engaged with the author of the greatest poem in English. Checkmarks, underscores, annotations, and Xs reveal the passages in Paradise Lost and other poems that would have such a determining effect on Melville's own work.
The Silence of Animals: On Progress and Other Modern Myths. Simon Critchley gives both an overview of philosopher John Gray's thought and reviews Gray's new book.
Whether made of wood or glass, the phone booth stands apart, and is made to stand apart, from the normal flow of life in which it is situated.
That is the structure of scientific revolutions: normal science with a paradigm and a dedication to solving puzzles; followed by serious anomalies, which lead to a crisis; and finally resolution of the crisis by a new paradigm. Another famous word does not occur in the section titles: incommensurability. This is the idea that, in the course of a revolution and paradigm shift, the new ideas and assertions cannot be strictly compared to the old ones. Even if the same words are in use, their very meaning has changed. That in turn led to the idea that a new theory was not chosen to replace an old one, because it was true but more because of a change in world view. The book ends with the disconcerting thought that progress in science is not a simple line leading to the truth. It is more progress away from less adequate conceptions of, and interactions with, the world. via 3quarksdaily