by Thomas O’Dwyer

Is there anything more depressing than the happiness industry? Never mind Google, just check out Amazon Books for something to read about this mental snake-oil, and just look at that — “50,000 results for Happiness.” With so much advice available, it’s hard to grasp how there could be any misery left in the world. At the top of the list among the “happiness projects” and “happiness how-tos” sits The Art of Happiness by no less a global guru than His Holiness the Dalai Lama of Tibet. But wait; there’s less. The small print reveals that the Dalai Lama didn’t even write the book. It is a set of “observations and analysis” by some American psychoanalyst who “echos” the ideas of the world’s favourite holy man. I wonder if he’s happy with that.
The British feminist Lynne Segal has suggested that the “happiness agenda” ought to be named the “misery agenda”. She argues that it adapts people to the causes of their misery, rather than addressing them. That’s a nod to Professor Pangloss, of whom more later. The Dalai Lama is elsewhere reliably quoted as teaching that “the purpose of our lives is to be happy.” The American people’s genius, Benjamin Franklin, wrote that “wine is constant proof that God loves to see us happy.” Come on guys — this is a serious existential topic, and that’s all you’ve got?
The mystery of happiness, once owned by ancient high philosophy, is now all over the place. As with so much else in the disintegrated temples of ancient values, we can probably blame the Americans. The ancient wisdom of the Greeks, of Marcus Aurelius, the Buddha, Confucius and other giants has been deconstructed into streams of glib cliches that can be transformed into dollars by slapping them on mugs, T-shirts, Hallmark cards and blurbs for “self-help” trash. What have they wrought, those framers of the U.S. Constitution, by sticking into it that fuzzy inalienable right to “the pursuit of Happiness”? Read more »



Ryan Ruby is a novelist, translator, critic, and poet who lives, as I do, in Berlin. Back in the summer of 2018, I attended an event at TOP, an art space in Neukölln, where along with journalist Ben Mauk and translator Anne Posten, his colleagues at the Berlin Writers’ Workshop, he was reading from work in progress. Ryan read from a project he called Context Collapse, which, if I remember correctly, he described as a “poem containing the history of poetry.” But to my ears, it sounded more like an academic paper than a poem, with jargon imported from disciplines such as media theory, economics, and literary criticism. It even contained statistics, citations from previous scholarship, and explanatory footnotes, written in blank verse, which were printed out, shuffled up, and distributed to the audience. Throughout the reading, Ryan would hold up a number on a sheet of paper corresponding to the footnote in the text, and a voice from the audience would read it aloud, creating a spatialized, polyvocal sonic environment as well as, to be perfectly honest, a feeling of information overload. Later, I asked him to send me the excerpt, so I could delve deeper into what he had written at a slower pace than readings typically afford—and I’ve been looking forward to seeing the finished project ever since. And now that it is, I am publishing the first suite of excerpts from Context Collapse at Statorec, where I am editor-in-chief.


The case for men’s rights follows straightforwardly from the feminist critique of the structural injustice of gender rules and roles. Yes, these rules are wrong because they oppress women. But they are also wrong because they oppress men, whether by causing physical, emotional and moral suffering or callously neglecting them. Unfortunately the feminist movement has tended to neglect this, assuming that if women are the losers from a patriarchal social order, then men must be the winners.



Some months ago, on a sunny Sunday afternoon, I went to my bank’s ATM in the main market close to where I live in the Defence Housing Authority, Lahore’s latest fancy suburb, which is organized and managed by the military. 

The wine community is often accused of being snobby and elitist. The language used to describe wine is one source of this innuendo. Although most people have become accustomed to the fruit descriptors used in wine reviews, when wine writers wax poetic by describing wines as “graphite mixed with pâte de fruit”, even