The scale and the brutality of our prisons are the moral scandal of American life. Every day, at least fifty thousand men—a full house at Yankee Stadium—wake in solitary confinement, often in “supermax” prisons or prison wings, in which men are locked in small cells, where they see no one, cannot freely read and write, and are allowed out just once a day for an hour’s solo “exercise.” (Lock yourself in your bathroom and then imagine you have to stay there for the next ten years, and you will have some sense of the experience.)
posted by Trurl
on Jan 24, 2012 -
102 comments
Joseph Mitchell was a reporter. It's tempting to say his beat was the waterfront, but though he's certainly the poet laureate of the Fulton Fish Market, this would be too literal-minded and geographically limiting. His beat was the margins, including the metaphysical margin of life itself. Mitchell invented a temporal dimension for his stories, a strange and twilit place—Mitchell Time—where a density of historical fact and the feeling of whole eras fading from view are sharply juxtaposed with scenes of cinematic immediacy related in the present tense. A cozy aura of death pervades his work, which often features oldsters experiencing the chilling fear of its approach while gleefully playing hide-and-seek with the reaper. -
The Village Voice [more inside]
posted by Trurl
on Jul 10, 2011 -
6 comments
There are generally two approaches to thinking about games: narratology and ludology. The first emphasizes story, the second play. The next time I played Super Mario, on the Wii (you can order all the vintage games), I found myself in a narratological mode. Mario reminded me of K. and his pursuit of the barmaid Frieda, in Kafka’s “The Castle,” and of the kind of lost-loved-one dreams that “The Castle” both mimics and instigates.
The New Yorker profiles the father of modern video games, Shigeru Miyamoto. (
via Kotaku)
posted by incomple
on Dec 13, 2010 -
37 comments
Ahmet Ertegun was profiled by George W. S. Trow in The New Yorker in a classic piece back in 1978. Ertegun was the son of the Turkish ambassador to the US and he remained behind in D.C. studying medieval philosophy at Georgetown. Instead of devoting himself to his studies he founded Atlantic Records with his friend Herb Abramson. Trow charted how Ertegun moved from tramping through muddy, Louisiana fields in search of hot new sounds to the whirl of Studio 54. Below the cut are links to the songs mentioned in the article, as best as I could find, in the order in which they appear.
[more inside]
posted by Kattullus
on Aug 17, 2009 -
25 comments
An unexpected corollary of the modern marketing-and-distribution model is that films no longer have time to find their audience; that audience has to be identified and solicited well in advance. The Cobra -
The New Yorker on the art and science of movie marketing.
posted by fearfulsymmetry
on Jan 21, 2009 -
36 comments
Tourists black out reflective retinas in snapshots before printing them, and millions of people refer to strangers they’ve never spoken to as friends, because they’ve connected through a social-networking platform. [...] It should come as no surprise, then, that singers sometimes choose to correct recorded flaws in pitch with modern software, like Antares’s Auto-Tune.Sasha Frere-Jones on auto-tuning, in The New Yorker.
[more inside]
posted by goodnewsfortheinsane
on Jun 10, 2008 -
98 comments
What war looks like. Susan Sontag has written an important essay on the intricate relationship we have with images of human suffering (e.g., war photography) in the December 9 issue of
The New Yorker. A sample:
Perhaps the only people with the right to look at images of suffering of this extreme order [i.e., gruesome combat horrors] are those who could do something to alleviate it – say, the surgeons at the military hospital where the photograph was taken – or those who could learn from it. The rest of us are voyeurs, whether we like it or not.
The essay is not online but there is an excellent
introduction with links to other galleries of the imagery discussed.
With a new war likely on the way, her essay provides a timely set of insights into wartime suffering and how it is usually depicted, often manipulated, and never understood.
posted by skimble
on Dec 6, 2002 -
43 comments
The Law of the Mental Mirror Image. We write what we are not. It is not merely that we fail to live up to our best ideas but that our best ideas, and the tone that goes with them, tend to be the opposite of our natural temperament. --Adam Gopnik on Popper in The New Yorker
posted by semmi
on Mar 30, 2002 -
9 comments
