Hermione Hoby in The Guardian:

Of all the mantles that have been foisted on Toni Morrison’s shoulders, the heaviest has to be “the conscience of America”. It’s both absurd-sounding and true. For almost half a century her subject has been racial prejudice in the United States, a story that she has told and retold with a steadiness of rage and compassion. Her latest novel, God Help the Child, is her 11th and when I arrive at her apartment in Tribeca, Lower Manhattan, America’s Conscience is having her eyebrows drawn on. “For the photographer,” she explains with a chuckle.

Later, she’ll tell the photographer: “We did makeup for you. I have eyebrows and everything,” then add: “You lose all that stuff … ” The implied second half of that sentence is “when you reach my age”: Morrison turned 84 in February. Her many literary laurels include a Pulitzer in 1988 for Beloved, a Nobel in 1993, and, in 2012, the presidential medal of freedom, from her friend Barack Obama. Being America’s most venerated living writer does not, however, stop a person wanting to look good in pictures. And, it is natural that beauty and the notion of self-image are on her mind as at the centre of her new book is a striking, dark-skinned woman called Bride who tries to shield herself from her own past with surface beautification. A love story unfolds, precariously, between her and Booker, a scholarly young black man adrift in grief for a dead brother. He tells her: “scientifically there’s no such thing as race, Bride, so racism without race is a choice. Taught, of course, by those who need it, but still a choice. Folks who practice it would be nothing without it.”

Bride’s blackness is both the source of her childhood misery – her lighter-skinned mother is so horrified by it that she considers killing her baby – and of her adult success. She works in the fashion and beauty industry where, heeding one stylist’s dictum to dress only in white, she makes herself, “a panther in snow”, an exoticised “other”. The novel intimates that fetishising blackness, both for the observer and the observed, might be just as insidious as outright prejudice. There’s the ex-boyfriend, for example, who seems to claim her as some kind of racial trophy. When this young white man takes her home to his parents it’s clear “that I was there to terrorise his family, a means of threat to this nice old white couple. ‘Isn’t she beautiful?’ he kept repeating … His eyes were gleaming with malice.”

More here. (Note: Throughout February, at least one post will honor The Black History Month. This year’s theme is “African Americans and the Vote.” Readers are encouraged to send in their suggestions)

The shortest prayer I was ever taught was

no: what other name could a god have:

I named my son after my dead
grandfathers: blood and not blood

gather around the bent-corner Kodak
altar: I learned to cook by fetching ingredients

one by one: carrying them between
the kitchen and her swollen hands: I can

play cards and hold my liquor because I have
his blood: inheritance is what we can hold onto

not what we are given: my grandmother’s ring
was meant for me: my mother gave it away:

I kept his name: gave what I could
to my son: if I had a god who said yes: I’d ask

harder questions: where were you:
when Sandy walked through

my neighborhood: upended trees and sudden
opened roofs: my neighbor’s house and the world

could see where her baby slept: I like the new vinyl siding
and newer owners: if bad luck knew where I lived

I’d move: I broke a child once
twice: I was broken once

twice: I did what I had to do:

my mother can make ground beef
and ketchup and vinegar into my brother’s favorite food:

my favorite bible story is the one where our unlikely hero
feeds thousands with just a few fish and sleight

of hands: I have said god’s name and been ignored
so long: the night filled with prayer

by Nicole Homer
from Split This Rock

Nicole Homer is a New Jersey based writer and educator. Her work can be found in the American Academy of Poets Poem-a-Day, Muzzle, The Offing, Winter Tangerine, Rattle, The Collagist, and elsewhere. A fellow of both The Watering Hole and Callaloo, Nicole serves as an Editor and regular contributor at BlackNerdProblems, writing critique of media and pop culture, and as faculty at the Pink Door Writing Retreat for Women and Gender Non-conforming Writers of Color.

Ben Ehrenreich at The Guardian:

It is to Townsend’s credit that she does not attempt to be comprehensive. The cosmology of the Aztecs, their calendar, gods and myths, get only glancing treatment here. This is a brief history, and one told subtly and well, primarily through the lives of individuals. First among them is the woman baptised by the Spanish as Marina and known in Nahuatl as Malintzin, re-hispanicised as Malinche – a name that would become a synonym for traitor. Born to a noble lineage of a people unhappily subject to Aztec rule, she was offered as a tribute payment to the Mexica and then sold to the Chontal Maya on the Yucatán coast, one of the first communities to encounter Cortés’s ships. Given away again to the Spaniards, she survived by making herself indispensable, serving as Cortés’s concubine and interpreter as he tortured and slaughtered his way around the continent. Townsend has elsewhere devoted an entire book, Matlintzin’s Choices, to her resurrection. She emerges here as a complex and sympathetic figure, able – as indigenous Mexicans would be for generations to come – to hold many worlds within herself at once.

more here.

Janet Maslin at the NYT:

The film “Chinatown” was meticulously designed to capture a precise moment in Los Angeles’s history. Everything about its look and feel says 1937, not 1936 or 1938. In the same way, “The Big Goodbye,” Sam Wasson’s deep dig into the making of the film, is a work of exquisite precision. It’s about much more than a movie. It’s about the glorious lost Hollywood in which that 1974 movie was born.

In a scrupulously researched and reported book with a stellar cast of players, not to mention some astonishing sources, Wasson sees Roman Polanski as the genius who elevated “Chinatown” from good to great. Anyone offended by that should stay away.

more here.

Cintra Wilson at the NYRB:

In 2007 the national mood was one of ecstatic bloodlust, war drums, and camo-prints, and Dolce & Gabbana ads featured nearly naked models in apocalyptic deserts being pawed into orgasmic submission by cheetahs. The subliminal code being promoted: we are at war, war is like sex but bloodier and bigger, we’ll have our dirty way with the world, the world will love it and we don’t care who watches.

Fashion has ostensibly changed very little in the last few decades; once “everything goes,” as fashion editors announced in the 2000s, there are few drastic shifts in silhouette, either season to season or decade to decade. Changes are mainly visible through sexual temperature, e.g., after a rash of Sexy Back, there is often a whipsaw volte-face back to haute prude, as if all the models suddenly sobered up after a summer of rampant polyamory. The October 2019 cover of Harper’s Bazaar featured Demi Moore dressed in Victorian schoolmarm wear, replete with knotted collar and wire-rimmed glasses.

more here.

Christian List in the Boston Review:

According to the skeptics, human actions aren’t the result of conscious choices but are caused by physical processes in the brain and body over which people have no control. Human beings are just complex physical machines, determined by the laws of nature and prior physical conditions as much as steam engines and the solar system are so determined. The idea of free will, the skeptics say, is a holdover from a naïve worldview that has been refuted by science, just as ghosts and spirits have been refuted. You have as little control over whether to continue to read this article as you have over the date of the next total solar eclipse visible from New York. (It is due to take place on May 1, 2079.)

Such free-will skepticism may not yet be embraced by the general public. Nor is it new; the philosophical debate about whether free will is compatible with determinism stretches back centuries, and the modern scientific debate has been roiling at least since the famous neuroscience experiments on the alleged neural causes of voluntary actions conducted by Benjamin Libet in the 1980s. Still, this skepticism makes trouble for some deeply held views about ourselves. The idea of free will is central to the way we understand ourselves as autonomous agents and to our practices of holding one another responsible.

More here.

Daniel C Dennett and Gregg D Caruso debate free will in Aeon:

[Dennett] You weren’t responsible for becoming an autonomous agent, but since you are one, it is entirely appropriate for the rest of us to hold you responsible for your deeds under all but the most dire circumstances. As [the American country singer] Ricky Skaggs once put it: ‘I can’t control the wind, but I can adjust the sails.’ To suppose that some further condition should be met in order for you or anyone else to be ‘truly deserving’ is to ignore or deny the manifest difference in abilities for self-control that we can observe and measure readily. In other words, the rationale or justification for excusing someone, holding them not deserving of criticism or punishment, is their deficit in this competence. We don’t try to reason with bears or babies or lunatics because they aren’t able to respond appropriately. Why do we reason with people? Why do we try to convince them of conclusions about free will or science or causation or anything else? Because we think – for good reason – that in general people are reasonable, are moved by reasons, can adjust their behaviour and goals in the light of reasons presented to them. There is something indirectly self-refuting in arguing that people are not moved by reasons! And that is the key to the kind of self-control which we are justified in treating as our threshold for true desert.

Caruso: I don’t disagree with you that there are important differences between agents who have the kind of rational control you highlight and those who lack it. Such a distinction is undeniable. A normal adult who is responsive to reasons differs in significant ways from one who is suffering from psychopathy, Alzheimer’s or severe mental illness. I have no issue, then, with acknowledging various degrees of ‘control’ or ‘autonomy’ – in fact, I think you and other compatibilists have done a great job highlighting these differences. My disagreement has more to do with the conditions required for what I call ‘basic desert’ moral responsibility.

More here.

V.S. Naipaul in the New York Review of Books:

Of all my books A House for Mr. Biswas is the one closest to me. It is the most personal, created out of what I saw and felt as a child. It also contains, I believe, some of my funniest writing. I began as a comic writer and still consider myself one. In middle age now, I have no higher literary ambition than to write a piece of comedy that might complement or match this early book.

The book took three years to write. It felt like a career; and there was a short period, toward the end of the writing, when I do believe I knew all or much of the book by heart. The labor ended; the book began to recede. And I found that I was unwilling to reenter the world I had created, unwilling to expose myself again to the emotions that lay below the comedy. I became nervous of the book. I haven’t read it since I passed the proofs in May 1961.

My first direct contact with the book since the proofreading came two years ago, in 1981. I was in Cyprus, in the house of a friend. Late one evening the radio was turned on, to the BBC World Service. I was expecting a news bulletin. Instead, an installment of my book was announced. The previous year the book had been serialized on the BBC in England as “A Book at Bedtime.” The serialization was now being repeated on the World Service. I listened. And in no time, though the installment was comic, though the book had inevitably been much abridged, and the linking words were not always mine, I was in tears, swamped by the emotions I had tried to shield myself from for twenty years.

More here.

Matthew Yglesias in Vox:

Emily has written at length about private equity’s role in recent bankruptcies of major retailers and about Elizabeth Warren’s plan to reform and re-regulate the industry. Those are great long reads if you want to go deep, and, of course, the episode itself is chock-full of details.

But here are seven main takeaways:

• The private equity business model doesn’t have a technical or legal definition, but it normally refers to leveraged buyouts — a private equity firm offers to buy a business with cash that’s mostly borrowed and the debt that accrues to the books of the acquired company rather than the private equity firm itself.
• Because companies bought through the LBO process are now indebted, the business inherently becomes riskier and more fragile than it was before the acquisition — a small downturn might make them unable to cover interest costs and force them into bankruptcy.
• At its best, private equity provides a new infusion of energy, money, and outside expertise that can help improve a company’s operational performance and set the stage for expansion.
• At other times, the debt burden induced by the LBO simply makes it harder to raise capital for needed investments, making it even more difficult for the acquired company to survive and thrive in a changing business environment.

More here.

Gene Seymour in Book Forum:

ANY OPPORTUNITY TO READ A GREAT WRITER’S MAIL should be embraced in these days when a serial Instagram feed is about as ambitious as correspondence gets. Granted, at roughly a thousand pages, The Selected Letters of Ralph Ellison may be asking a lot, at the outset, of even the most committed scholar of twentieth-century American literature, to say nothing of the waves of readers who continue to come away from Invisible Man convinced that it’s the Great American Novel.

But these letters, as assembled by John F. Callahan and Marc C. Conner, come to us a quarter of a century after Ellison’s death as more than just another corpus for further academic study. In heft and breadth, the missives here make up the Big Book of Life that Invisible Man’s triumph augured, and that we’ve been awaiting (not always patiently) for all these years. After his first book’s publication in 1952, Ellison doggedly, painstakingly, and at times dolefully toiled at completing a second novel, which remained unfinished at the author’s death in 1994. More than either posthumous version of that book, the densely compacted Juneteenth and forbiddingly gargantuan Three Days Before the Shooting . . . (both curated by Callahan, Ellison’s executor), Ellison’s letters vibrate with striking imagery, flinty repartee, shrewd literary insight, and bountiful reverie. One can’t help thinking while wandering through this capacious volume that if only this mercurial and meticulous man could have somehow sustained the high-spirited, polychromatic flow of his correspondence and carried it into his regular routine, there could have been two, three, even four more novels bearing his name. Or so you’d like to imagine.

The story told by this Ellison opus, as in Invisible Man, concerns a black American’s progress toward self-realization in a world that insists on misunderstanding him. Ellison was correct to insist, especially to interviewers in the immediate wake of its publication, that his novel was not autobiographical, although the author, like the book’s anonymous protagonist, rose from modest beginnings (in Oklahoma City) to attend a historically black university (Alabama’s Tuskegee Institute).

More here. (Note: Throughout February, at least one post will honor The Black History Month. This year’s theme is “African Americans and the Vote.” Readers are encouraged to send in their suggestions)

Jordan and Egan in The New York Times:

Plunk yourself in an armchair and lose yourself in a tale of love, whether it’s a family saga, “12-hanky weeper” or timeworn classic.

New York

Truman Capote, “Breakfast at Tiffany’s”

Before Audrey Hepburn shimmied into that iconic black dress and dangled her cigarette holder between two fingers, the story of Holly Golightly existed only between the covers of Truman Capote’s beloved novella. Way back in 1958, our reviewer summed it up in words that hold true to this day: “‘Breakfast at Tiffany’s’ is a valentine of love, fashioned by way of reminiscence, to one Holly Golightly … a wild thing searching for something to belong to.”

Washington

David Guterson, “Snow Falling on Cedars”

On an island in Puget Sound in 1954, the body of a fisherman is pulled out of the sea, trapped in his own net. ​A Japanese-American man is charged with his murder, and the ensuing trial leads the town’s newspaper editor to reflect on his long repressed love for the accused man’s wife. The novel, which became a best seller and was adapted into a 1999 feature film, explores the sometimes porous line between unrequited love and resentment, and how deep-seated animosity and fear can erode a community.

More here.

This synod is convinced that the forces of the Allies are being used of God to vindicate the rights of the weak and to maintain the moral order of the world.   —Anglican Synod, Melbourne, 1916.

Christ at Gallipoli

Bit weird at first,
That starey look in the eyes,
The hair down past his shoulders,
But after a go with the ship’s barber,
A sea-water shower and the old slouch hat
Across his ears, he started to look the part.
Took him a while to get the way
A bayonet fits the old Lee-Enfield,
But going in on the boats
He looked calmer than any of us,
Just gazing in over the swell
Where the cliffs looked black against the sky.
When we hit he fairly raced in through the waves,
Then up the beach, swerving like a full-back at the end
When the Turks’d really got on to us.
Time we all caught up,
He was off like a flash, up the cliffs,
After his first machine gun.
He’d done for three Turks when we got there,
The fourth was a gibbering mess.
Seeing him wave that blood-red bayonet,
I reckoned we were glad
To have him on the side.

by Geoff Page
from Small Town Memorials
University of Picaro Press, 1975

Laura Marsh in The New Republic:

A young woman—observant, self-conscious, harboring literary aspirations, though not quite sure where she wants to end up—meets an older novelist, and they start dating. He is as famous as it’s possible for a contemporary writer to be. He is obsessed with his privacy: She is not to draw any attention, occupying a hidden corner of his life. In fact, he sets all the terms of their relationship; the age gap benefits him. While there’s plenty of desire, it’s tinged with condescension (even spite), which contributes more than it should to their sexual tension.

In return, he allows her to soak up some of his brilliance, as if by osmosis. Of course, she will have to leave him if she wants to be the star of her own life. The experience is only worth having if it is the precursor to something bigger.

This is, loosely, the arc of Adrienne Miller’s new memoir, In the Land of Men. The book is a recollection of her career as an editor at glossy men’s magazines from the 1990s to the mid-2000s, and of the sexism she encountered on the job. A large part of that story is dominated by David Foster Wallace, the writer she met when she was 26 and he was 36; she published a long and difficult short story of his in Esquire in 1998, and soon after they began an affair.

More here.

Merrit Kennedy at NPR:

About 50,000 years ago, ancient humans in what is now West Africa apparently procreated with another group of ancient humans that scientists didn’t know existed.

There aren’t any bones or ancient DNA to prove it, but researchers say the evidence is in the genes of modern West Africans. They analyzed genetic material from hundreds of people from Nigeria and Sierra Leone and found signals of what they call “ghost” DNA from an unknown ancestor.

Our own species — Homo sapiens — lived alongside other groups that split off from the same genetic family tree at different times. And there’s plenty of evidence from other parts of the world that early humans had sex with other hominins, like Neanderthals.

That’s why Neanderthal genes are present in humans today, in people of European and Asian descent. Homo sapiens also mated with another group, the Denisovans, and those genes are found in people from Oceania.

The findings on ghost DNA, published in the journal Science Advances, further complicate the picture of how Homo sapiens — or modern humans — evolved away from other human relatives.

More here.

Alex Trembath in National Review:

For the first time in a long time, Republicans seem engaged on climate change. As concern over the issue surges among younger Republicans and sweeping Democratic proposals demand an answer from the right, GOP lawmakers have come forward with bills of their own to address the problem. The top Republican in the House, Kevin McCarthy, recently sat down with Axios’s Amy Harder to outline the biggest goals of a Republican climate-change agenda, namely:

• Carbon capture, with a focus on natural solutions such as more trees and improved soil-management (what President Trump called the “trillion trees initiative” in his State of the Union Address);

• Clean-energy innovation; and

• Conservation and recycling, with a focus on plastic waste.

The first thing to say here is that Republican lawmakers’ now-explicit interest in climate-change policy is unequivocally good. Policy and legislation are better served by competing visions of action, not the permanent partisan stalemate that has characterized the debate to date. But Republicans might be missing an opportunity here all the same. So-called “natural” climate solutions such as planting trees and improving soil-management have uncertain long-term benefits to the climate. Likewise, as I’ve written elsewhere, plastic bags and plastic straws are highly visible forms of waste that don’t actually have huge impacts on climate change.

More here.

John Semley at The Walrus:

Tackiness gets a bad rap because it makes us feel like suckers. It offends our belief that we deserve better. We are allowed to marvel at top-shelf wax statues of celebrities or modern movie blockbusters because they meet some implicit standard of verisimilitude, because they look “real”: it’s okay to be crassly entertained so long as that entertainment passes some bar of acceptability. Anything that fails that standard is generally held to be tawdry or kitschy or cheesy—to be, in other words, beneath our esteem.

But tackiness of the kind you’ll find—or used to find—on Clifton Hill proves memorable, even affecting, not just because of some knowing irony. It’s because, I think, it feels so lovingly and painstakingly handmade.

more here.

Natasha Stagg and Elizabeth Wurtzel at n+1:

I had to fight for Prozac Nation because everyone wanted it to be a novel. They really thought that I should write a novelized version of my life. The whole thing was: “Who are you? Why would anybody care about your life? If you’re talented, you can write a novel, because you can invent something.” It’s not like I couldn’t do that. It’s not like it couldn’t have been a novel. But I don’t want to write novels. It’s terrible that men make the rules, and that men have decided that novels are somehow more valuable. It’s really, really, really hard to write about yourself. Women who have written about their own lives should be getting the Nobel Prize. Those are the only people who should be getting the Nobel Prize from now on because it’s really hard to do. It’s not that hard to write about politics. Read a book and you can do it. It’s not that hard to write about Donald Trump, or for that matter Afghanistan. It is really hard to figure out the stuff that scares people. I’m not doing this because I need to figure myself out. I have myself figured out. I’m doing it because other people need to figure themselves out. I’m not writing about myself. I’m writing about other people. It’s a really cheap thing to think that all I’m doing is writing about my life, as if that’s some easy thing.

more here.

James Purdon at Literary Review:

‘Not all hotels are created equal,’ observes McBride’s narrator; yet ‘once distilled all hotel rooms are essentially alike, if not exactly the same’. She should know: Strange Hotel records an exhausting fictional itinerary of nights spent in, by my count, more than 170 cities, from Dublin to Delhi and further afield. For the most part, these stopovers appear in the simple form of lists, an occasional cryptic ‘x’ denoting, we eventually infer, those occasions when the narrator chooses to forgo her solitude, if not her loneliness, in favour of a casual sexual hook-up. Five rooms, though, come into sharper focus in the novel’s main narrative sections, set in Avignon, Prague, Oslo, Auckland and Austin. Or, more precisely, set in the small and temporarily hospitable space of a hotel room in each city, ‘a place built for people living in a time out of time’.

more here.