Photojournalists put their lives on the line every day, after all, and a photograph is less likely to contain bias, right? "With his new photobook War Is Beautiful: The New York Times Pictorial Guide to the Glamour of Armed Conflict, David Shields is taking aim at what he characterizes as the “war porn” routinely seen on the front page of America’s most respected paper of record." [more inside]
Salinger Betrayed: despite their show-stopping if unattributed revelation of a publication schedule and descriptions for the author's posthumous works, Shane Salerno's tabloid-style documentary film (now recut), and the accompanying biography co-written by David Shields, have been very poorly received. [more inside]
Sullivan’s book was a hit. It was the single best-selling book of 1947, ahead of de Beauvoir, ahead of Sartre, ahead of Camus. People wanted to meet him. The press wanted to talk to him. He was also the plaintiff in a civil suit that could carry a heavy fine or even lead to time in jail. He had to appear in court, which was tricky, because Vernon Sullivan didn’t exist. (SLTheAwl)
Reading in the traditional open-ended sense is not what most of us, whatever our age and level of computer literacy, do on the Internet. Books cease to be individual works but are scanned and digitized into one great, big continuous text. The dynamics of the digital are encouraging authors, journalists, musicians and artists to treat the fruits of intellects and imaginations as fragments to be given without pay to the hive mind. But what becomes of originality and imagination in a world that prizes metaness and regards the mash-up as more important than the sources who were mashed? The very value of artistic imagination and originality, along with the primacy of the individual, is increasingly being questioned in our copy-mad, postmodern digital world. Remix is the very nature of the digital. But do we now face a situation in which culture is effectively eating its own seed stock?