Aja Romano in Vox:

By any measure, Netflix’s Squid Game is a runaway hit. The Korean drama-slash-horror series about a battle royale conducted via children’s playground games — think Red Light, Green Light or tug of war but with a lot more blood — debuted on September 17 and became an instant sensation, rocketing to the top of Netflix’s most-viewed releases and generating memes across social media. After barely three weeks on the platform, Squid Game has not only become the most popular Korean drama in Netflix’s history, but it’s on track to surpass Bridgerton as the most popular show in Netflix history.

Squid Game’s success is such a fantastic payoff for Netflix’s decision to invest $500 million in Korean entertainment in 2021 that it is causing the company’s stock to boom. That might be somewhat ironic given that Squid Game is all about socioeconomic divides, the exploitation of the poor by the rich, and the desperation of Korea’s financially destitute class of laid-off workers.

Creator Hwang Dong-hyuk came up with the idea for the show after years spent reading manga and manhwa (Japanese and Korean comics, respectively) with similar themes, including the influential horror satire Battle Royale, which kicked off the contemporary trend of ensemble casts battling each other to the death in elaborate high-stakes gaming arenas. He paired these concerns with the Korean entertainment industry’s ongoing interest in the socioeconomic plight of a growing number of downwardly mobile workers, once solidly middle class, who’ve found themselves forced into lower-paying jobs due to Korea’s changing economy and decreasing reliance on industry.

More here.

How Do You Do?

All hands are out in the street today,
straining against the leashes of forearms.
Little concerned with us, they leap
to greet each other, tangle and clasp,
a subtle suction, like a kiss,
then off again in a friendly game
of overlord and underdog
we only understand in part.

Sometime later, folded in prayer,
or contemplation, right says to left,
if anything should happen to me
you’ll know, won’t you, what to do?
and left says to right, you’ve always kept me
friendless and illiterate.
We really ought to get them to shake,
but it’s not clear they fit that way.

by Jeff Dolven
from The Hopkins Review, Spring 2009

Richard Brody at The New Yorker:

The curse of genre is that it encourages filmmakers to downplay causes in the interest of effects. In the best genre movies, the quantity and power of these effects serve as sufficient compensation for the thinned-out drama. “Titane,” the new film by Julia Ducournau, is a genre film, a twist on horror with a twist on family—like Ducournau’s first feature, “Raw.” But “Titane” is far stronger, far wilder, far stranger. The radical fantasy of its premise—a woman gets impregnated by a car—wrenches the ensuing family drama out of the realm of the ordinary and into one of speculative fantasy and imaginative wonder that demands a suspension of disbelief—which becomes the movie’s very subject.

The film’s protagonist, Alexia (Agathe Rousselle), has an affinity for cars that amounts to a sort of destiny. As a child (played by Adèle Guigue), Alexia is sitting in the back seat of a car driven by her father (Bertrand Bonello, himself a notable director), who’s got music on the radio.

more here.

Ross Simonini and Maggie Nelson at The Believer:

BLVR: It’s interesting that you make the distinction between art and not-art, because your writing doesn’t seem to make that distinction.

MN: I do think it’s all part of one flow. And to me, how personal it is and what form it takes on the page are just a Bob Creeley, “form follows content” kind of a thing. But at the same time, I’m alert to what different genres can do. And I think if someone calls Bluets a novel, I’m like, OK, that’s fine. To me, it’s within the realm of experimental speculative nonfiction. Someone could say The Art of Cruelty is a series of essays, but it was not conceived as a series of essays. It was conceived as an ongoing thought that had episodic rings of action. On Freedom is weird because it’s four long chapters, which are each, like, seventy-five pages in manuscript. This was not a particularly elegant form to me. There was no real experimenting with the accretion of fragments, like I’ve done before. And then that became a kind of formal question to me, like: How can things this long hang together? I like to come up with subtitles, like “a reckoning” or “a murder” or things that kind of name something about the form. And I always thought of these sections of On Freedom as long songs. That was my idea about them. Songs can be quite long and still hang together, and they are less boring than chapters.

more here.

Giulio Boccaletti in Orion:

The fundamental struggle with water has never really abated since it first began on the shores of the Persian Gulf. The multiple transitions, from nomadism to sedentism, from hunting and foraging to domesticated agriculture, from small rural communities to a productive, specialized, urbanized society, were severe disruptions. But while individuals would have lived through them as gradual, incremental transformations, over the course of Homo sapiens’ existence, they amounted to shocking events. From the moment Homo sapiens, late in its history, decided to stay in one place, surrounded by a changing environment, it began to wrestle with water, an agent capable of destruction and life-giving gifts.

The reason the early story of water and society matters is that it has left deep cultural traces guiding and inspiring human adaptation ever since. For example, given the experience of early Chinese communities, it is not surprising that water myths are abundant in that culture, and have captured the role of the water landscape in Chinese identity. One Chinese myth tells of how the world formed from the body of a giant, whose blood and veins turned into water and rivers. In another, the Jade Emperor, Lord of Heaven, entrusted four great dragons to bring rain to the people. Their names were Long, Yellow, Pearl, and Black. After they disobeyed him, he entrapped them in mountains, so the dragons turned themselves into rivers, becoming the Yangtze, Yellow, Pearl, and Amur Rivers, the great historical sources of water for agriculture. These are the cultural traces of the great East Asian monsoon.

More here.

https://www.youtube.com/watch?v=t7eNo6goFeg&t=1524s

William Logan at The New Criterion:

The harsh criticism of Melville’s period may be almost as disconcerting to a modern reader as the shiftiness of publishers. Those who think critics should never criticize may find the treatment of his masterpiece, however acceptable by nineteenth-century standards, not edifying but shocking. The early critical reactions did not prevent Moby-Dick from being recognized as the Great American Novel, though that took most of a century—and neither did the positive reviews, nor the bits of possibly paid-for puffery, create a best-seller. The British edition never sold out. Though Moby-Dick did go through three more American printings over the next twenty years, the later ones were small and overall sales poor. Melville’s nine novels were published in an astonishing eleven years, the first seven in seven. After the last, The Confidence-Man (1857), an act of genius exceeded only by the tale of the whale, Melville abandoned fiction and fled to poetry, for which he possessed almost no gift. For two decades he was forced to make his living as a New York City customs-house inspector.

more here.

Lynne Cooke at Artforum:

IN AN APPRECIATIVE 2016 REVIEW of new work by Valerie Jaudon, critic David Frankel noted that the Pattern and Decoration movement, of which Jaudon was a prominent member, had long been held in disrepute. “In the early ’80s,” Frankel wrote, “I remember a colleague at Artforum at the time saying it could never be taken seriously in the magazine.”¹ In retrospect, what makes this dismissal so striking is that, in the mid-’70s, Artforum contributed significantly to P&D’s emergence into the spotlight, publishing key texts by its advocates along with numerous reviews of its shows. Amy Goldin’s “Patterns, Grids, and Painting” (1975) and Jeff Perrone’s “Approaching the Decorative” (1976) were among the early touchstones for P&D’s heterogeneous cohort, riled by the unmitigated critical support for diverse ascetic and masculinist tendencies pervasive in the painting of the moment. However, by the mid-’80s, eclipsed by newer developments—the Pictures generation, neo-geo, et al.—P&D was increasingly coming under fire for positions now considered controversial: for the purported essentialism of its versions of second-wave feminism, for a naive advocacy that masked acts of Orientalizing and primitivizing, for cultural imperialism. More fundamental “problems” largely went unnoted, including a lack of the kind of conceptual depth expected of cutting-edge practices: In their commitment to the decorative, P&D artists prioritized surface over subject matter, the former serving primarily as a vehicle for sensuous effects. Not least, the art world’s entrenched sexism fostered the occasion for its denizens to belittle and sideline a movement renowned for the dominant role played by women in its genesis and trajectory.

more here.

Dan Falk in Quanta:

Anil Seth wants to understand how minds work. As a neuroscientist at the University of Sussex in England, Seth has seen firsthand how neurons do what they do — but he knows that the puzzle of consciousness spills over from neuroscience into other branches of science, and even into philosophy.

As he puts it near the start of his new book, Being You: A New Science of Consciousness (available October 19): “Somehow, within each of our brains, the combined activity of billions of neurons, each one a tiny biological machine, is giving rise to a conscious experience. And not just any conscious experience, your conscious experience, right here, right now. How does this happen? Why do we experience life in the first person?”

This puzzle — the mystery of how inanimate matter arranges itself into living beings with self-aware minds and a rich inner life — is what the philosopher David Chalmers called the “hard problem” of consciousness. But the way Seth sees it, Chalmers was overly pessimistic. Yes, it’s a challenge — but we’ve been chipping away at it steadily over the years.

More here.

Omar Mouallem in Literary Hub:

The first time I learned I was Muslim was in preschool.

During an excursion to a pizzeria, which is what passed for a field trip in my hometown of High Prairie, Alberta, I consumed a few morsels of ham. My mom arrived with the other parents to pick me up from class, and I began to sing the praises of Hawaiian pizza. She cut me off with a gasp. “You’re Muslim,” she said loudly for my teacher to hear. “Muslims don’t eat pork.”

Abstaining from pork could be the first law of the Five Pillars of Western Islam. Unlike the actual pillars (pray daily, pay alms, fast through Ramadan, pilgrimage to Mecca, and declare Muhammad as a messenger of the one true God), they are defined by what you don’t do: eat pork, celebrate Christmas, drink alcohol, gamble, and date. It’s safe to say that I’ll probably never complete the first set of pillars. But the second I dutifully observed until mid-adolescence. Then I pushed them over, one by one, over the course of ten years. The first to go up was the last to fall.

Which brings me to the second time I learned I was Muslim, a few years ago, at age 30.

More here.

John Henning Schumann in NPR:

COVID-19 deaths and cases are starting to decline and some experts are projecting that the worst of the delta surge is over, thanks to a combination of vaccine uptake and natural immunity. However, recent experience warns against complacency. This (not-so-novel-anymore) coronavirus and its variants have wreaked havoc and could continue to. And the country urgently needs to upgrade its pandemic response capabilities to prevent future infectious calamities, argues former commissioner of the Food and Drug Administration Scott Gottlieb.

In his new book, Uncontrolled Spread: Why COVID-19 Crushed Us and How We Can Defeat the Next Pandemic, Gottlieb revisits the federal response to the COVID crisis from his post-government perch as a health care venture capitalist, media commentator, and member of Pfizer’s board — the company that launched one of the first safe and effective vaccines against COVID-19. Along the way, he recounts the science, the policies, the successes, and notable failures in our country’s pandemic preparation — and makes a strong case that we need to already be planning ahead for more pandemics.

More here.

Razib Khan in Nautilus:

A new paper, published in the American Journal of Human Genetics, highlights the fact that genes your parents didn’t transmit to you still matter—the phenomenon of “genetic nurture.” A team of researchers based in the United Kingdom conducted a systematic review and meta-analysis of 12 studies with nearly 40,000 parent-offspring comparisons. The genetic nurture effect for years of education, they found, is about 50 percent of the value of direct genetic effects. “Empirical studies,” they write, “have indicated that genetic nurture effects are particularly relevant to the intergenerational transmission of risk for child educational outcomes, which are, in turn, associated with major psychological and health milestones throughout the life course.” Genetic nurture is clearly not a factor you can ignore.

How does it work? Some parents may have personalities that have them prioritizing the short-term over the long-term. Rather than investing in their offspring’s educational outcome, by investing in a college fund, say, they may prefer spending the money on vacations to Europe, which have a great deal of short-term utility. The child may have somewhat different preferences, but this would be irrelevant, as these sorts of decisions are usually made by parents. The same is true in the converse situation, where parents make decisions that would increase the likelihood of their offspring going to college. This is a situation where the offspring may not have inherited the gene (or cluster of genes) that gives their parents the long-term vision, but they themselves benefit from that disposition.

More here.

How Things Happen

Rain comes when it will. It doesn’t care for us.
It’s hitchhiking its way to the sea on a cloud.
The sun is interested in its own fires. If light
comes, so be it. Bees feel an itch on their legs
only nectar can soothe. So many gifts from indifferent
givers. We walk through the world and smile,
remembering an old love, and Ramona, passing by,
thinks That man thinks I’m pretty, and walks in a way
that makes her more beautiful — and Henry
walking down the street notices, makes a pass,
and they end up having a good marriage.

by Nils Peterson
from All the Marvelous Stuff
Caesura Editions, Poetry Center San José,2019

Morgan Meis at Slant Books:

I first became aware of the photographs of Deana Lawson because of a piece that Zadie Smith wrote about Lawson in The New Yorker a few years ago and I remember it being quite a good piece, which is not unusual for a piece by Zadie Smith and, to be completely truthful, I find that I am often much more moved and impressed when Zadie Smith writes about visual art than I am by the novels of Zadie Smith. But perhaps I am just being bitter in saying this because in fact I should also say that I once sort of thought that I was a little bit friends with Zadie Smith since she had liked an article I’d written about a collection of her essays and we engaged in something of an ongoing email exchange and then one day I noticed that we were both scheduled to do something at a literary event, to give a talk or give a reading or whatever people do at literary events and I thought I would drop by to say hi to her and maybe have a coffee and suddenly I was in a long line of people trying to get a moment with Zadie Smith as she was sitting at a table signing books. She was surrounded by different sorts of handlers and managers and, I guess, bodyguards and when I finally got up to Zadie Smith and when she realized that she sort of knew me through an email exchange there was an awkward chit chat between the two of us mixed with some overly long pauses and it felt, I must say, like I was standing there for several hours when in fact it must have only been a couple of minutes and the whole time she looked deeply pained and sorry for me and then her handlers sort of scooted me along down the hall and I finally realized that I am not friends with Zadie Smith at all, not even a little bit, and that she lives in a world that truly and completely has nothing to do with my own. She lives in a world of real and genuine fame and I do not. She ‘knows’ hundreds of people like me and mostly she just wants them to go away. And I don’t blame her at all for that. Not one bit. During that awkward couple of minutes standing in front of her book-signing table I wanted me to go away too.

More here.

From the website of the Nobel Prizes:

The Nobel Assembly at Karolinska Institutet has today decided to award the 2021 Nobel Prize in Physiology or Medicine jointly to David Julius and Ardem Patapoutian for their discoveries of receptors for temperature and touch.

Our ability to sense heat, cold and touch is essential for survival and underpins our interaction with the world around us. In our daily lives we take these sensations for granted, but how are nerve impulses initiated so that temperature and pressure can be perceived? This question has been solved by this year’s Nobel Prize laureates.

More here.

John Mueller in Responsible Statecraft:

Postmortems on the war in Afghanistan stress errors of execution during the two decades of occupation. However, the greatest error may have been to invade at all.

Rather than launching a war that proved to be disastrous, an alternative reaction to 9/11 might have been to expand police and intelligence operations and to work with sympathetic allies to pressure the Taliban, which had little or nothing to do with 9/11, to dismember al-Qaida and to turn over its top members.

Several conditions were favorable to such an approach.

First, Taliban rule in Afghanistan was quite unpopular and far from secure. After its takeover in 1996, it had afforded peace and a degree of coherent government to Afghanistan after a horrific civil war. However, by 2001 its popularity had declined due to its chaotic and sometimes brutal rule — and perhaps due to its successful effort to crush the lucrative opium trade in the year previous.

More here.

Carole Angier at The Paris Review:

Readers of Sebald increasingly agree that it is wrong to see the Jewish and German tragedy of the Holocaust as the sole focus of his work: the darkness of his vision extends much further, to the whole of human history, to nature itself. That is true. But here is my limitation: I am the daughter of Jewish refugees from Nazism. It was the fact that Sebald was the German writer who most deeply took on the burden of German responsibility for the Holocaust that first drew me to him, and it is still one of the things that most amaze and move me about his work. He didn’t want to be labeled a “Holocaust writer” and I don’t call him one here. But though the Holocaust was far from the only tragedy he perceived, it was his tragedy, as a German, the son of a father who had fought in Hitler’s army without question. It was also my tragedy, as the daughter of Viennese Jews who had barely escaped with their lives. I think it is right to see the Holocaust as central to his work. But if I make it too central, that is why.

more here.