Noah Smith in Noahpinion:
The generally acknowledged development champion of the modern world is South Korea. Joe Studwell, the author of How Asia Works, uses Korea as his paradigmatic success story, as does the economist Ha-Joon Chang (who grew up there). Chang and Studwell’s ideas have forced mainstream economists to take another look at industrial policy — in particular, at the idea that poor countries should promote manufactured exports in order to raise their productivity levels. Korea, which has fully made the transition from poverty to developed-country status over the last half century, has used this strategy to great effect. In general, in this series of posts, I’ve tried to look at developing countries through the lens of the Chang/Studwell model, which means I’ve been implicitly comparing them to South Korea all along.
But anyway, South Korea is not the only big development success story that we’ve seen in recent decades. Two others that are almost as impressive are Poland and Malaysia, which are now on the cusp of developed-country status.
More here.
So who is Janelle Monáe? Since she emerged on the music scene, she’s been less a pop star than a world-builder, refracting herself through sci-fi and Afrofuturist imagery. Her first EP, “Metropolis: The Chase Suite,” from 2007, drew on Fritz Lang’s German Expressionist classic and cast Monáe as her android alter ego, Cindi Mayweather. With her tuxedos and protruding pompadours, she was a glam retro-futurist androgyne, and her three studio albums—“The ArchAndroid” (2010), “The Electric Lady” (2013), and “Dirty Computer” (2018)—leaned into her funk-robot persona. “I’m a cyber-girl without a face, a heart, or a mind,” she sang on one track. Monáe used Mayweather and other spinoff characters as metaphors for her sense of otherness, as a queer Black woman from Kansas City, Kansas. (In 2018, she came out as pansexual, and last April revealed herself to be nonbinary; she uses she/her or they/them pronouns but says that her preferred pronoun is “freeassmuthafucka.”) Monaé’s forty-eight-minute 
How does an Oxford academic follow up a prize-winning trade book, a newly researched biography of Geoffrey Chaucer? And, moreover, in lockdown, when archives and libraries are largely inaccessible? Marion Turner, the newly elected J R R Tolkien Professor of English Literature and Language at Oxford, has avoided ‘second-book syndrome’ with a breathtakingly simple idea: a biography of Chaucer’s most famous character, Dame Alison (or Alice), weaver, pilgrim, businesswoman and serial participant in the marriage market, better known as the Wife of Bath. Informative, clear-sighted, entertaining and as opinionated as its subject, Turner’s new book is a wonderful introduction to the lives of 14th-century women, The Canterbury Tales and the fascinating ways in which Alison has been read and misread since she first hoisted up her voluminous skirts to show her fine red stockings during the last decade of the 14th century.
Something was in the water in Austin. In the 1960s, a gang of classics scholars and philosophy professors had rolled into town like bandits, the University of Texas their saloon: William Arrowsmith, chair of the Classics Department, who scandalized the academic humanities with a Harper’s Magazine essay titled “The Shame of the Graduate Schools,” arguing that “the humanists have betrayed the humanities” and that “an alarmingly high proportion of what is published in classics—and in other fields—is simply rubbish or trivia”; John Silber, promoted to dean of the College of Arts and Sciences just ten years after graduating from Yale, who promptly replaced twenty-two department heads, much to the ire of the university’s board; and a third, an unassuming former radio broadcaster from the United Kingdom with a knack for classical languages and only a master’s degree to his name.
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The anonymous setting of Mohsin Hamid’s 2022 novel The Last White Man brings with it a certain comfort. The British Pakistani author’s lack of specificity is purposeful: dropped into a nameless town in an unknown country, the reader has no cultural touchstones to grab onto, no societal baggage to carry. The blank slate leaves just one aspect to focus on, which Hamid homes in on with his first line: “One morning Anders, a white man, woke up to find he had turned a deep and undeniable brown.” This succinct statement of fact — a rarity in the novel — establishes the binary law of the land: you’re either white or dark, no in-between.
When clinical trial data for the antiviral drug Paxlovid emerged in late 2021, physicians hailed its astonishing efficacy — a reduction of nearly 90% in the risk of severe COVID-19. But more than a year later, COVID-19 remains a leading cause of death in many countries, and not only in 
During the three decades that I headed Human Rights Watch, I recognized that we would never attract donors who wanted to exempt their favorite country from the objective application of international human rights principles. That is the price of respecting principles.
ILLUSION AND REALITY
Chateaubriand says that the pleasures of youth revisited in memory are ruins seen by torchlight. I don’t know whether I’m the ruin or the torch.
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It was an uncomfortable moment for people who perform colonoscopies. In October, a massive randomized clinical trial in Europe presented its initial results
My exultant “Ha!” woke the library. I had just read Mihaly Csikszentmihalyi’s definition of “flow”—that magical feeling of getting so caught up in what you are doing that you lose track of where you are, what time it is, who might want something of you. I knew that feeling, and I craved it. Freed from space and time, oblivious to chores and deadlines, I could think and breathe and imagine. These bursts of oblivion drove everybody around me crazy, of course. I re-entered the world in a daze and had to scramble back into task-mind. But I came back refreshed and happy.
In the four years since an experiment by disgraced scientist He Jiankui resulted in the