ON JANUARY 29, 2008, an e-mail began making the rounds of the art world. Originally sent by artist Nancy Holt to a small group of friends and colleagues, and rapidly forwarded on, the message contained an urgent appeal: Holt had been alerted, just the day before, to the existence of plans to drill for oil in the Great Salt Lake, near Robert Smithson’s Spiral Jetty, 1970, and she was asking people to contact the Utah state government to express their opposition before a rapidly approaching deadline for public comment.
'I Don't Think Of Short Stories As A Secondary Option, Ever'
Topic: Arts
6:57 am EDT, Apr 14, 2008
Sheela Reddy interviews Jhumpa Lahiri:
The Pulitzer winner talks about the two great loves of her life: her children and her writing. 'With young children, the days can be rather mercurial.'
An anthology of new work from seventeen writers with websites. It is available as a downloadable PDF, which requires the free Adobe Acrobat Reader to view. You probably already have it. Feel free to forward, print, share, discuss, deconstruct, and/or cherish.
William Gibson: The Rolling Stone 40th Anniversary Interview
Topic: Arts
7:21 am EDT, Apr 9, 2008
One of the things our grandchildren will find quaintest about us is that we distinguish the digital from the real, the virtual from the real. In the future, that will become literally impossible.
I was sure we'd covered this, but I couldn't find it.
It’s easy to forget, given the sensitivities that have been awakened in this country since 9/11, thrusting lifelong citizens under suspicion for having foreign-sounding names and subjecting visitors to the indignity of being fingerprinted, that America was conceived in a spirit of openness, as a land where people could build new identities, grounded in the present and the future, not the past. This dream, despite current fears, has in great part been made real.
The term ‘graphic novel’ is dismissed by most of its practitioners as either an empty euphemism or a marketing ploy. As Marjane Satrapi puts it, graphic novels simply enable ‘the bourgeois to read comics without feeling bad’; according to Alan Moore, they allow publishers to ‘stick six issues of whatever worthless piece of crap they happened to be publishing lately under a glossy cover and call it The She-Hulk Graphic Novel’. Moore and Satrapi, in common with many others, want their work to be known as ‘comics’. But ‘graphic novel’ can usefully designate a certain type of comic: a single-author, book-length work, meant for a grown-up reader, with a memoiristic or novelistic narrative, usually devoid of superheroes. By contrast, the older and more capacious term ‘comic book’ recalls the thinner, serialised, multi-authored or ghost-written publications rife with Supermen and She-Hulks. Some comics, of course, straddle (or elude) both categories; but in broad terms ‘comic book’ and ‘graphic novel’ serve to distinguish two trends in the history and form of comics.
From the recent archive:
Television was the Cold War intellectuals’ nightmare, a machine for bringing kitsch and commercialism directly into the home. But by exposing people to an endless stream of advertising, television taught them to take nothing at face value, to read everything ironically. We read the horror comics today and smile complacently at the sheer over-the-top campiness of the effects. In fact, that is the only way we can read them. We have lost our innocence.
