Carolyn Forché in Literary Hub:
In memory we are standing in the kitchen of the Treman Cottage at Breadloaf. It is late afternoon in the summer of 1976 and I have brought my copies of Return to a Place Lit by a Glass of Milk and Dismantling the Silence for Charles Simic to sign. He is slouching a bit, leaning against the counter, and seems genuinely touched that I had carried the books, deeply penciled and dog-eared, all the way from home.
As he leafed through them, I blurted out that my family was from Czechoslovakia, and of course because it was a country that had been cobbled together in 1918, conjoining several parts of former Austro-Hungary, he wanted to know precisely where my ancestors had lived. I told him Slovakia, in Bardejov, in the eastern part of the country, in one of the oldest towns. “So you are Slovak!” he said, “and we are both peasants!” He laughed, then scrawled in his book with a fat pen: “Now that the Serbs and Slovaks have learned to read and write, look out world! Yours, Charlie.”
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Painters have long struggled with the difficulties of depicting shadows, so much so that shadows — after a brief, spectacular showcase in ancient Roman paintings and mosaics — are almost absent from pictorial art up to the Renaissance and then are hardly present outside traditional Western art.
Earlier this month the CDC released the results of its Youth Risk Behavior Survey of American teenagers. The findings have been much discussed, with the focus largely and understandably on the fact that
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To get the inside story behind the chatbot—how it was made, how OpenAI has been updating it since release, and how its makers feel about its success—I talked to four people who helped build what has become
In this week’s New Yorker, the contributing writer Merve Emre
Devaka Gunawardena , Niyanthini Kadirgamar, and Ahilan Kadirgamar in Phenomenal World:
Perry Anderson in New Left Review:
Kenda Mutongi in Boston Review:
Dylan Saba in Jewish Currents:
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In the spring of 1954, Reinhard Müller stepped onto a stage in the German city of Wolfsburg as a volunteer in a magic show. His presence was captured in a small sepia photograph, where he can be seen in conversation with a tuxedoed magician holding the elegant pocket watch that Müller has just entrusted to him. The conjurer is Helmut Ewald Schreiber (1903–1963), better known by his stage name Kalanag. He is in the final stages of a trick called “The Devil’s Mail,” a popular feature of his world-touring magic revue, Simsalabim. A few moments before, Müller’s watch had been reduced to fragments in a mortar by sharp blows of the magician’s wand. In the photograph, Kalanag can be seen returning the now miraculously restored timepiece to its owner. But his watch is not all that Müller will take with him when he leaves the stage. To his delight, he will also carry this snapshot, delivered to him in an envelope by the magician within moments of the very scene that it depicts.
EVERYONE HAS
Zen and the Art of Motorcycle Maintenance, published in 1974, was nothing short of a cultural phenomenon. A work of fictionalised autobiography, the book follows its author Robert Pirsig on a long motorcycle ride through the US, from Minnesota across the prairie to Oregon, then down to southern California. The muscles of that skeletal journey are Pirsig’s philosophical musings on the notion of Quality. Pirsig created the concept in order explain the relationship between human values and societal values.