by R. Passov

A few weeks back, I flew to Los Angeles for my 40th business school reunion. I went knowing it was going to be a hopeless affair. I was the odd man out forty years ago and remain so. I had stumbled into business school not out of some ambition to make a fortune on Wall Street, something I knew next to nothing about, but rather because I had stumbled onto a thin set of classes whereby one could get credit for just taking finals. I successfully employed that ruse across six years of undergraduate struggles to land a B.A. A significant number of those finals were taken in courses that constituted the first year of my MBA program. I completed my undergraduate studies on a Friday and started business school the following Monday.

I had no business being in business school. I lacked a rudimentary understanding of the business world. My only two significant sources of work experience were selling drugs and working in liquor stores.

I attacked business like a polished rube. I hit the books, blazing through my classes as though on an academic quest to Mt Olympus. While I went the extra mile solving differential equations to map product penetration rates, many of my classmates were at beer busts or “networking forever down Columbus Avenue.” 

…I’ve seen them in commercials sailin’ boats and plain’ ball, Pourin’ beer for one another cryin’, “Why not have it all?” Now I saw the ghostly progress as the wind around me blew, Till I felt the urge to purchase a BMW

All the salad bars were empty, all the Quiche Lorraine was gone. I heard the yuppies crying as they vanished in the dawn. Calling brand names to each other, as they faded from my view. They’ll be networking forever down Columbus Avenue

—”Yuppies in the Sky”, Peter, Paul and Mary

So, why did I go to that reunion? I went because it’s rare to have the opportunity to follow the routes of so many lives across forty years. I also went because my cohorts and I swum in the currents of the Reagan revolution. We left B-school at the zenith of Regan’s influence. When the ‘Chicago Boys’, those now well-known, hard-charging, un-forgiving right-of-center academics were making much of the western world into a capitalistic democracy, where the ‘free market’ knows best. Read more »

Art

Here is this tree before me
whose skin is as fissured and split
as the landscape of the Rockies as if
a network of rivers had, for centuries,
by force of friction, sculpted canyons
into its surface; bark beaten by
torrents of rain, dried by torch of sun,
torn by whip of wind, but
remaining steadfast as Everest
despite every onslaught, for
well beyond what will be its
natural life, as it is
…. framed in this canvas,
…. or in the length of these lines,
…. or in the music of the spheres,
…. or in the dance of gypsies,
all meant to share with others
the strength and miracle
of its character.

Jim Culleny, 6/14/24

by Rafaël Newman

It was my birthday last month, a “round” one, as anniversaries ending in zero are known in Switzerland; and in gratitude for having made it to a veritably Sumerian age, as well as for the good health and happiness I am currently enjoying, I threw a large party for family and friends. Then, not quite one week later, I flew off to Albania, a land I have come to associate with the sensation and enactment of gratitude.

Albanians in official capacity are fond of giving each other elaborately worded certificates of gratitude, presented in velveteen dossiers at formal ceremonies. I know this because I have attended several of these ceremonies. I have even received such a certificate myself—for, although not a native of Shqipëria, I have now twice been invited to participate in Albanian cultural affairs.

The first occasion, in 2019, was a literary festival in Pejë, in northwest Kosovo, where I joined a host of poets from across the Balkan region and beyond to read poetry in memory of Azem Shkreli (1938-1997), a local man of letters. During the closing ceremony, surrounded on the stage of Pejë’s municipal theater by the many poets in attendance and congratulated by various Kosovar dignitaries, I was handed my certificate by the woman who had invited me to the festival, my friend Entela Kasi, president of the Albanian PEN Centre. Read more »

by Claire Chambers

Introduction

Hari Kunzru has recently completed the third novel in his three colours trilogy about race, class, and the arts. White Tears concerns music and was published in 2017. Red Pill deals with literature and came out in 2020. And Blue Ruin zeroes in on fine art, having just been released last month, in May 2024. All of the novels examine racism and evoke various upheavals in the present moment. The titles of this tripartite sequence of novels figure forth the American or British flag, signifying the fractured state of these nations. Paul Gilroy rightly claimed in the title of his 1987 book that ‘There Ain’t No Black in the Union Jack’, and Kunzru’s storyworld also highlights the strife amid the stars and stripes.

In this essay, I am interested in how a sensory studies perspective can enrich discussions of Kunzru’s trilogy. I discuss sound (and, to a lesser extent, touch or its absence) and a need to listen to other voices. The key issue here is whether, and to what extent, the tolerant should be tolerant of the intolerant. In White Tears, Red Pill, and Blue Ruin, Kunzru makes a conscious effort to listen to the repugnant politics of white supremacists, alt-right provocateurs, and QAnon or ‘plandemic’ conspiracy theorists. Trying to understand their views without either endorsing or criticizing them (while subtly forming judgements), Kunzru trains his ear on loathsome conversations and does some radical listening. Read more »

LaToya Ruby Frazier. Mom and Mr.Yerby’s hands, 2005.

Silver gelatin print.

More here and here.

by Brooks Riley

by Marie Snyder

A little learning is a dang’rous thing;
Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
~ Alexander Pope

Is it, though?

We’re in a mental health crisis and people need more access to help. How much learning is necessary to help one another, and is it dangerous to listen and offer another perspective or even some suggestions without an advanced psych degree? In old movies, people told their stories to bartenders, hairstylists, or cab drivers for the price of a beer or trim or trip to the airport. They just needed a captive audience willing to listen to their worries Now we want people with credentials as if that will provide more certain results.

But not all credentials are created equal.

Last year BetterHelp got in the news for allegedly sharing confidential health data to social media sites, and was fined $7.8 million. TV writer Mike Drucker wrote:

“EVERY BETTERHELP AD: ‘We’re like therapy but cheaper and easier! We have people for every problem so you get care just for you!’
ACTUAL BETTERHELP: ‘We’re going to set you up with a confused therapist that will ghost after two sessions. Also we told Facebook about your assault.'”

More recently, the New York Times had an article on scams in the wellness coaching industry, describing scenarios in which the new recruits were bilked out of massive amounts for “tuition” made up of a few hours of videos, and then were never helped to find clients. Read more »

by David Winner

Throughout most of my life, I periodically napped in the back sitting room of my parent’s house in Charlottesville, gazing at an enormous shelf of my father’s books.

Why I am a Jew was an unlikely title to find.   Though my father was most certainly a Jew, he was fiercely disconnected from all things Jewish.  He claimed that he only learned that he was Jewish after he left his Jewish mother and Irish American stepfather behind in Pasadena to go to a very antisemitic Harvard in the late forties.  He hated Woody Allen, Larry David, Bernie Sanders, and all other public Jews, never set foot in a synagogue or at a seder dinner, and was skeptical about the state of Israel.

Perhaps being brought up by such a non-Jewish Jew has influenced my perspective.  When the news broke about the Hamas attacks in the fall, Angela, my wife, was cross with me before I even opened my mouth because she was stunned by what had happened and feared what I would say.  I’ve had a long history of disparaging Israel.

A few days after the attacks, I came back to my house in Brooklyn to find Angela in conversation with our ultra-orthodox Jewish neighbors.  They were in shock.  Their seventeen-year-old son told us that Muslims had slated the following day for killing Jews around the world.  Only Israel could protect us from the “animals.”  The world, as he framed it, was overrun by an evil force out to get him and his community.   Rather than confront his racism, I retreated inside.  I didn’t think he would ever construct things any differently. Read more »

by Paul Braterman

According to the anthropologist James Bielo, such places as the Creation Museum and Ark Encounter provide sacred infotainment, in which visitors imagine that their own lived experience is Bible-based. This requires an illusion of authenticity, with no concern for biblical accuracy. Thus, when Bielo sat in on the planning stages of the Ark Encounter video trailer, he found much concern over the appearance of the pegs being used to hold the Ark’s planks together, which looked like something you could buy at a modern DIY store. That mattered because it didn’t fit the illusion. But no one really cared that Noah was incorrectly described as “righteous,” rather than the highly ambiguous “righteous in his generation,” which is what the Bible actually tells us. Ken Ham had okayed the script, so it must be fine theologically. Ken Ham, founder and at the time CEO of Answers in Genesis, owner of the Ark Encounter, is zealous in his support of one particular version of biblical literalism, but such zeal does not leave room for even the possibility of ambiguity.

As infotainment, consider how the Ark Encounter describes the lives and lifestyles of Noah and his family on board. We are warned that the designers have used artistic license, but assured that nonetheless what we are offered is completely compatible with the biblical account. Technically, that may be true, but in spirit it is totally false. We are not being given an account of the Biblical ordeal, but scenes from a wholesome contemporary sitcom. There is a library, containing scrolls and tablets, where Noah relaxes and Shem studies. It contains a couch, which Noah built during the flood. There is also a commodious kitchen with a wood-burning oven, used for baking bread, rolls, and other things. An equally commodious dining room, where they can all relax in the evenings after having fed the animals. Read more »

by Tim Sommers

I usually begin my “Ethics” course by asking, “What is the difference between ethics and morals?” I used to begin by literally asking the students that question, until I realized no one is happy about your very first question being a trick.

So, here’s the difference. “Ethics” comes from Greek, “morals” come from Latin. That’s it. Particular philosophers sometimes make some kind of (potentially) useful distinction between the two words, but the bottom line is, absent some stipulation with a theory behind it, ethics and morals don’t differ in meaning. The same goes for a “democracy” versus a “republic.”

During the recent Washington State Republican Convention, one delegate received a standing ovation for complaining that “We are devolving into a democracy,” and suggesting that “we should repeal the 17^th Amendment” (Senators are to be elected by a popular vote, rather than appointed by state legislatures). Lest you think this a lone voice in the wilderness, the current Speaker of the House, Mike Johnson, the person holding the second most powerful political position in our system of government, recently said, “We don’t live in a democracy. We live in a constitutional republic.” Utah Senator Mike Lee also says we live in a republic and that “Rank democracy thwarts” human flourishing.

Frankly, this is a worrying line. Read more »

Jaffer Kolb. Untitled, June, 2024.

Digital Photograph.

More here.

With permission from Jaffer Kolb.

by Ed Simon

Demonstrating the utility of a critical practice that’s sometimes obscured more than its venerable history would warrant, my 3 Quarks Daily column will be partially devoted to the practice of traditional close readings of poems, passages, dialogue, and even art. If you’re interested in seeing close readings on particular works of literature or pop culture, please email me at [email protected]

The shortest lyric in Natalie Diaz’s 2013 collection When My Brother Was an Aztec has two less words than its title does. At only five words, the poem “The Clouds are Buffalo Limping Towards Jesus” is, because of its length, an incongruous entry in the collection, which for the most part combines more conventional quasi-formal and free verse that ranges from a few dozen lines to a few pages. Brevity is, of course, not necessarily a marker of radicalism; after all, the lyric as a form was originally defined not just by a strong individual voice, but also by representing a brief observation or emotion rather than a narrative with epic scope. The traditional Japanese genres of haiku, sijo, and tanka are marked by an economy of precision, but in the West even that most venerable form of the sonnet makes its argument and takes its logical turn in a short fourteen lines. Then there are the poets with a reputation for parsimony, masters of concision such as Emily Dickinson or Edna St. Vincent Millay. Still, a short Millay work such as “First Fig” (“My candle burns at both ends.”) with its four lines and twenty-five words might as well be the Iliad; a Dickinson lyric such as “Poem 260” (“I’m Nobody! Who are you?”) at eight lines and 42 words is a veritable Odyssey when compared to Diaz. When a poem counts in at under a dozen words, or even under half-a-dozen, there is a suspicion that the poet is courting the gimmick more than anything, the purview of the limerick and bawdy lyric, of Strickland Gillian’s “Lines on the Antiquity of Microbes,” which has been claimed as the briefest poem in the language, reading in its entirety “Adam/Had ‘em.” Read more »

by Brooks Riley