by Anton Cebalo

In the decade before World War I, the newspaper dominated life like it never would again. The radio was not yet fit for mass use, and neither was film or recording. It was then common for major cities to have a dozen or so morning papers competing for attention. Deceit, exaggeration, and gimmicks were typical, even expected, to boost readership. Rarely were reporters held to account.

This characterization is not mine but taken from Austrian writer Karl Kraus. Kraus believed this environment had to be held responsible for plunging Europe into war. He parodied its excesses in his 1918 play The Last Days of Mankind where he developed his signature montage style. In a time of upheaval, Kraus cut through the noise by repeating its own voice back at it, splicing quotes together into a new interpretation. As he recounted in the play’s preface, “the most improbable deeds reported here actually took place. The most implausible conversations… were spoken verbatim.” Kraus pursued a unique kind of literary realism with the perceptive eye of a documentarian, and in his crosshairs was the newspaper.

Like many writers and artists of the early 20th century—whose perspectives ring so familiar to us today—Kraus sought to dramatize how mass media, particularly the newspaper, was distorting the urban individual’s sense of place. Is it so surprising that writers and artists then, argues critic Lucy Sante, “took such pleasure in shredding it”? After all, the stakes were dire.

I have been reading Sante’s translation of one such “shredder”: Félix Fénéon. He is an individual who remained largely unknown during his life, but played an outsized role in modernism and early 20th-century literature. Fénéon found himself close to the heart of this media whirlwind I am describing, writing anonymously for the French newspaper Le Matin in 1906. But rather than get caught up in its bluster, he instead opted for an approach that was unique in its candor, simplicity, and intended speed of consumption. Read more »

Sughra Raza. At Totem Farm, April 2021.

Digital photograph.

by Gus Mitchell

This September marks 50 years since the deaths of three men. One died at the very beginning of the month, in Oxford, one in the middle, in Santiago, and one at the end, in Vienna.

Anyone likely to be reading this will have heard of J.R.R. Tolkien, who died on 2 September in Oxford, city of his life and work, aged 81. Unfortunately the contemporary world has absorbed Tolkien to an unhealthy extent that sweetens and ultimately sickens his achievement. His achievement was to create myth anew. I use that word order deliberately, as opposed to “created a new mythology”.

I don’t know how many people will have heard of Victor Jara. If they haven’t, they ought immediately to stop reading until they have given their full attention to “Manifiesto”, one of the really incomparable things ever committed to record. “Manifiesto” was recorded in August 1973. It was released posthumously; in its closing lines, Jara had written: “For a song has meaning / When it beats in the veins / Of a man who will die singing / Truthfully singing his songs.” And Jara was murdered the following month, on September 16^th, doing what he himself had predicted.

Many people will have heard of W.H. Auden. Another acronymous luminary of 20^th century British letters, he is also its greatest poet. Auden died on 29 September in Vienna, aged 66: rather lonely, estranged from his partner Chester Kallman, intending himself to make his way back to Oxford, and having likely swallowed his habitual nightly dose of barbiturate and vodka (his practice for three decades.) Auden was the kind of poet that doesn’t really exist anymore: a grand reflection of his age.

September also marks fifty years since the Pinochet coup in Chile, a coup supported by both the United States and the United Kingdom, and that would lead first to the deaths of the democratically elected socialist president Salvador Allende, then at least two thousand more Chileans, and the torture and imprisonment of more than thirty thousand more. On the 12 September 1973, the morning after the coup and Allende’s suicide, Victor Jara, along with five thousand others were arrested by the fascists and taken as prisoners to the Estadio Chile in Santiago. Read more »

by Brooks Riley

by Marie Snyder

It’s such a go-to now to call the enemy some version of a communist in a weird throwback to 1950s America and McCarthyism. And now the leader of the opposition accused Canada’s Prime Minister of being a Marxist, and he said it like it’s a bad thing!

Lisa B0923 5 minute Tiktok explains why Trudeau is decidedly not Marxist:

“This is what Marxists believe: ‘Marxism analyses the impact of the ruling class on the laborers, leading to uneven distribution of wealth and privileges in the society. It stimulates the workers to protest the injustice.‘ Now I guess compared to the current CPC the liberals may look Marxist because the current CPC is so far right, like, you can’t even see them in the distance.”

But let’s dive a little deeper into what Marx said to see that philosophically, communists and capitalists aren’t that far apart, but both are nowhere near the neolibertarian capitalists. Kinda like Lisa said above, neoliberals are just so far to the right that everyone looks like a commie from their vantage point.

Commies, Capitalists and Neoliberal Capitalists

What I think is interesting is that one of the fathers of capitalism, John Locke, and one of the fathers of communism, Karl Marx, were reacting to their different situations in very similar ways. Read more »

by Rafaël Newman

All will unite—no sooner had our world
Combusted (see “The Big Bang”) than it sought
Accretion of the bits that had been hurled
To every corner (where there once was naught,
One nanosecond previous, un-warmed
By ours or any other burning stars,
Un-lit by lunar satellite), and formed,
In steady labour, suns and planets, Mars,
And Jupiter, and Venus, and the rest:
Great gatherings of what was late alone,
But now into a merry round compress’d
Was through our skies in conjunct chorus thrown.

And so it is with us, made of those bits
As well, and yearning for return to what
We once were, unities before the blitz:
One rounded whole, harmonic and uncut
As yet by gods invidious, those same
Whom we’ve appeased in solemn ritual,
With sacrifice, and planetary name,
And ceremonies individual. Read more »

Found this dead and dried out dragonfly lying on a sidewalk in Brixen, South Tyrol.

by William Benzon

I have been thinking about the culture of AI existential risk (AI Doom) for some time now. I have already written about it as a cult phenomenon, nor am I the only one. But I that’s rather thin. While I still believe it to be true, it explains nothing. It’s just a matter of slapping on a label and letting it go at that.

While I am still unable to explain the phenomenon – culture and society are enormously complex: Just what would it take to explain AI Doom culture? – I now believe that “counter culture” is a much more accurate label than “cult.” In using that label I am deliberately evoking the counter culture of the 1960s and 1970s: LSD, Timothy Leary, rock and roll (The Beatles, Jimi Hendrix, The Jefferson Airplane, The Grateful Dead, and on and on), happenings and be-ins, bell bottoms and love beads, the Maharishi, patchouli, communes…all of it, the whole glorious, confused gaggle of humanity. I was an eager observer and fellow traveler. While I did tune in and turn on, I never dropped out. I became a ronin scholar with broad interests in the human mind and culture.

I suppose that “Rationalist” is the closest thing this community has as a name for itself. Where psychedelic experience was at the heart of the old counter culture, Bayesian reasoning seems to be at the heart of this counter culture. Where the old counter culture dreamed of a coming Aquarian Age of peace, love, and happiness, this one fears the destruction of humanity by a super-intelligent AI and seeks to prevent it by figuring out how to align AIs with human values.

I’ll leave Bayesian reasoning to others. I’m interested in AI Doom. But to begin understanding that we must investigate what a post-structuralist culture critic would call the discourse or perhaps the ideology of intelligence. To that end I begin with a look at Adrian Monk, a fictional detective who exemplifies a certain trope through which our culture struggles with extreme brilliance. Then I take up the emergence of intelligence testing in the late 19th century and the reification of intelligence in a number, one’s IQ. In the middle of the 20th century the discourse of intelligence moved to the quest for artificial intelligence. With that we are at last ready to think about artificial x-risk (as it is called, “x” for “existential”).

This is going to take a while. Pull up a comfortable chair, turn on a reading light, perhaps get a plate of nachos and some tea, or scotch – heck, maybe roll a joint, it’s legal these days, at least in some places – and read.

Read more »

by R. Passov

In 2010, the company for which I was then Treasurer was invited to send me to China. The purpose of the trip was to meet with senior members of the National Development and Reform Commission (NDRC) as well as the Shanghai stock exchange as a prelude to becoming the first US company to issue bonds to be traded on the Shanghai exchange.

Before discovering that there were numerous companies in line to be ‘first’ I met with a senior official of the NDRC. Along with my travel companion, a Chinese national who had relocated to New Jersey and worked on my team, I arrived at a palatial office exactly at the right time, only to wait perhaps as along as 45 minutes, maybe longer.

Eventually my companion and I were escorted into a cavernous conference room, in the center of which was an impossibly long table surrounded by as many as 40 high-backed, elaborately upholstered chairs. We were instructed to take seats away from the table against a far wall. After more waiting, a senior official entered the room followed by two assistants and proceeded to a chair at the very center of the table.

After the official was comfortably seated we were instructed by his assistants to move to the table and occupy the two seats directly across. One of the assistants left and our host began the meeting.

Introductions were short. The NDRC official knew who we were, and perhaps a lot more. I only knew that he was a Vice Chairman and according to my colleague ‘very, very senior.’ The Vice Chairman was politely condescending and direct: When, he wanted to know, would my company be able to commit to a securities offering. Read more »

by Bill Murray

This month’s travel column includes suspiciously little travel – just two short walks, to a courthouse and a jailhouse. I live in Atlanta, where quite a bit of national politics has happened in those two buildings these last few weeks.

I walked downtown a couple of weeks ago when things were going on down there that you wouldn’t call festive, August is too hot for festive, but they were purposeful, and expectations ran high. Peoples’ opinions diverge, don’t they, but until the Trump indictments were actually handed up August 14, everybody at least agreed something important was coming and that it would shape events.

To walk from my part of town, Atlanta’s big busy Midtown, to the sprawling government complex downtown, is to walk “right down Peachtree,” as much loved Atlanta Braves baseball announcer Ernie Johnson used to say when describing a pitch right down the middle.

From Midtown you walk Atlanta’s main street a couple of miles south. There’s a dodgy block or two and then a positively anti-human overpass where noise, grit and gridlock coalesce over a squeezed together forced marriage between interstates 75 and 85. We call that the Downtown Connector.

Once that’s over you forge alongside Woodruff Park (for sixty years Robert W. Woodruff personified Coca-Cola); you are now in the heart of downtown, and continue beyond an iconic neon Coca-Cola sign and through the disused entrance to what has been, on and off again, Underground Atlanta.

After that barriers were up, roads were shut and cadres of traffic cops moved about. TV trucks staked out the Lewis R. Slayton Courthouse for a couple of weeks down there and everybody with a supporting role in presenting the Donald Trump drama, TV techs, cops, drivers, caterers, couriers and a few protesters deserved hazardous duty pay for managing in the 100 degree-plus daily heat.

Out here in the provinces these felt like important events; it seemed like purposeful people were busy with weighty affairs, even if it was only all in the service of getting one man and his associates in trouble with the law. Read more »

Sughra Raza. Shredder Self-portrait, NYC, August 2023.

Digital photograph.

by Lydia Stryk

Riding the train to the small city of Darmstadt to sleep over with a friend after a day spent at the Frankfurt Book Fair, I observed an impeccably dressed elderly gentleman sitting several rows away from me across the aisle.

He wore an elegant calf-length overcoat which men of a certain class in Germany are partial to wearing. His shoes were fine leather and shining. He was tall, with excellent posture, a full mane of white hair and the bluest of eyes, which I noted because they reminded me of my father’s eyes and because they were staring into the beyond behind me. He was in possession of a large expensive-looking wrist watch to which he turned his attention occasionally. And though I could see no evidence of a briefcase, his would have been top of the line.

He had, in fact, the air of a publisher of tasteful literary titles on his way home from a successful but tiring day at the fair. And I pictured him the sort who would have attended the fair every year without exception until the pandemic temporarily shut it down and would continue to attend, out of habit, for as long as he was able. Perhaps, he was the scion of a publishing empire, I told myself, a fitting story.

It had been a long day, and I was happy to be on the train. Nothing else about the day had been happy, so eventually my mind wandered away from the old man to my own state of affairs. I was cold and hungry and admittedly forlorn, none of this conducive to conjecture and true curiosity. I closed my eyes.

And that is when a certain commotion broke out on the until-that-moment quiet and peaceable train. Concerned women’s voices could be heard, and I opened my eyes to find the concern centered around the elegant elderly man. My station was approaching and though readying to disembark, I was able to make out the following: The elderly gentleman had apparently turned to his seat companion and asked her where the train was heading and if she could tell him where he was. Upon questioning, it became clear that he did not know where he wanted to go. The literary lion of my imagination had presumably boarded a train with no direction or purpose and was lost. Read more »

by Brooks Riley

by Tim Sommers

Back in June, Dr. Peter J. Hotez, an expert on neglected tropical diseases and vaccines, made a splash when he categorically refused to participate in a public debate on vaccines with vaccine-denier Robert F. Kennedy, Jr. on Joe Rogan’s podcast.

Dr. Hotez had been on Rogan’s show before, more than once, and said he would go on again – but not to debate. Among those “urging” him (to put it politely) to do so were Rogan (who offered him $100,000 dollars), Elon Musk (the richest man in the world) who said that Dr. Hotez is “afraid of a public debate because he knows he’s wrong,” a social media mob of thousands, and finally a pair of stalkers arrested outside his home.

Why didn’t Dr. Hotez just do the debate? I don’t know. But I think it’s because he knows that experts should not participate in public debates against nonexperts.

Maybe, I should mention why I feel qualified to address this topic. I participated in competitive academic and public debates, of various sorts, as a debater, a judge, and a coach for ten years. I have used debate to teach philosophy courses, and have written four academic papers on how to make academic debate more relevant to teaching and scholarship.

So, here we go. Top ten reasons experts should not debate nonexperts in public debates. Read more »

by Joseph Carter Milholland

In my last column, I wrote about the interconnectedness of the literary canon. My argument was that canonical books are best read in the context of other canonical books – that we only fully appreciate a great work of literature when we also appreciate the other great works it is inextricably bound to – both the books that influenced it, and the books it influenced.

I will admit that this argument can lead one astray: if applied improperly, we lose sight of individual authors and individual works, and only focus on the narrative of literary history. Worse yet, we will arbitrarily force certain books to conform to our expectations of the canon, instead of reading them on their own terms. I do not think that there is anything in what I proposed that would necessarily lead to this kind of reading, but it is a very easy mistake to make (and one I will confess to having made in the past). To avoid making this mistake, I will now propose a complementary method for reading the canon: to seek out and understand the difference between what I call the “mainstream” and the “marginal.”

I am using the terms mainstream and the marginal to denote two types of literary artistry. Whenever we read a great book, there is a wide spectrum of ways in which we enjoy it: on the right end of this spectrum, we have the kinds of enjoyment that we can find in almost every great book, no matter where or when it was written; in the center is the ways in which the book reflects the finest features of a specific genre or literary tradition; and on the far left is the way in which that particular book gives us its own unique pleasures. The literary artistry that falls in the right hand end of this spectrum I call the mainstream, and the artistry on the left hand side I call the marginal. I realize this definition is abstract and somewhat cumbersome, so throughout this essay I will supply examples that I think better illuminate what I am getting at. My first example: the catharsis we experience at the end of great tragedy is an example of mainstream artistry; the caesura in Anglo-Saxon verse is an example of marginal artistry.

Some more clarifications are in order. Read more »