briansholis + newyorker   45

“The Stone”
"A stone is a thought that the earth develops over inhuman time."
LouiseErdrich  NewYorker  ShortStory  stone  CompressedLife 
5 weeks ago by briansholis
Jonathan Galassi, "The Unlikely History of Faber & Faber"
"What “The Untold Story” makes clear are the ways in which editorial sensibility and independence—renewed and reasserted at key points in the firm’s history—have combined with sheer luck, over the course of nearly a century, to sustain an operation that might very well have gone under more than once."
NewYorker  JonathanGalassi  publishing  FaberAndFaber 
6 weeks ago by briansholis
Donald Antrim, "Everywhere and Nowhere: A Journey Through Suicide"
When telling the story of my illness, I try not to speak about depression. A depression is a furrow, a valley, a sloping downward, and a return. Suicide, in my experience, is not that. I believe that suicide is a natural history, a disease process, not an act or a choice, a decision or a wish. I do not understand suicide as a response to pain, or as a message to the living. I do not think of suicide as the act, the death, the fall from a height or the trigger pulled. I see it as a long illness, an illness with origins in trauma and isolation, in deprivation of touch, in violence and neglect, in the loss of home and belonging. It is a disease of the body and the brain, if you make that distinction, a disease that kills over time. My dying, my suicide, lasted years, through hospitalizations, through more than fifty rounds of electroconvulsive therapy—once known as shock therapy—through recovery, relapse, and recovery. It can seem recent in memory, though at times it feels ancient, far removed, another lifetime, another life and my life.
DonaldAntrim  NewYorker  suicide  depression  PersonalEssay 
8 weeks ago by briansholis
Amanda Petrusich, "Going Home with Wendell Berry"
"You must either decide this is worth working at, or just leave it undone. Marriage is not perfect agreement. But you’ve accepted this other person into your mind. I work alone, but always with her presence in my mind. And she is somebody I want to impress. I’m going to write this with the hope that it’ll help her to love me. I feel the stakes are pretty high. I’m in a conversation with her that hasn’t ended yet."
NewYorker  AmandaPetrusich  WendellBerry  Kentucky  farming  economy  marriage  WriterInterview 
8 weeks ago by briansholis
Anne Boyer, "What Cancer Takes Away"
"My problem is that I want to live millions of dollars' worth of life but cannot say why I deserve the extravagance of this existence."

"I tell my daughter that my BRCA genetic test came back negative. I tell her that, without a hormonal cause and without a genetic tendency and without obvious life-style factors, the cancer I had probably just came from exposure to radiation or random carcinogens, that she doesn’t have to worry that she is predisposed or genetically cursed. “You forget,” she answers, “that I still have the curse of living in the world that made you sick.”
AnneBoyer  NewYorker  cancer  memoir  2019Faves 
may 2019 by briansholis
Athena, Goddess of Copyediting
"Athena is direct: she never tries to seduce anyone or wheedle to get her way. Her brand of wisdom is a form of common sense, which was something I lacked, a muscle that did not get much exercise in college or graduate school. I was a good worker, though—the only job I ever had that I was truly terrible at was waiting on tables—and by the time I got to The New Yorker there were different kinds of women to observe: a cheerful receptionist heading back to graduate school, proofreaders of all styles—zealous, jealous, quietly brilliant—and wickedly good writers, like Pauline Kael and Janet Malcolm. When I was promoted to the copydesk, my dream job, and it was just me and the words, I had a crisis of confidence. No one thanked you when you did something right, but when you screwed up they had ways of letting you know."
MaryNorris  TheParisReview  NewYorker  BookExcerpt  memoir  editing  copyediting  ClassicalCulture 
april 2019 by briansholis
Kathryn Schulz, "My Father’s Stack of Books"
"The difficulty is that anything that is perfectly ordered is always threatening to become imperfect and disorderly—especially books in a household of readers. You are forever acquiring new ones and going back to revisit the old, spotting some novel you’ve always intended to read and pulling it from its designated location, discovering never-categorized books in the office or the back seat or under the bed. You can put some of these strays away, of course, but, collectively, they will always spill out beyond your bookshelves, permanently unresolved, like the remainder in a long-division problem."
KathrynSchulz  NewYorker  books  memoir  collecting  2019Faves 
march 2019 by briansholis
The Software That Shapes Workers’ Lives
"Supply chains aren’t purely physical. They’re also made of information. Modern supply-chain management, or S.C.M., is done through software. The people who design and coördinate supply chains don’t see warehouses or workers. They stare at screens filled with icons and tables. Their view of the supply chain is abstract. It may be the one that matters most."

"In such a system, a sense of inevitability takes hold. Data dictates a set of conditions which must be met, but there is no explanation of how that data was derived; meanwhile, the software takes an active role, tweaking the plan to meet the conditions as efficiently as possible. SAP’s built-in optimizers work out how to meet production needs with the least “latency” and at the lowest possible costs. (The software even suggests how tightly a container should be packed, to save on shipping charges.) This entails that particular components become available at particular times. The consequences of this relentless optimization are well-documented. The corporations that commission products pass their computationally determined demands on to their subcontractors, who then put extraordinary pressure on their employees."
MiriamPosner  NewYorker  2019Faves  software  infrastructure  business  labor 
march 2019 by briansholis
Isaac Chotiner, "A Political Economist on the End of the Age of Objectivity"
"One of the things that I’m trying to argue in the book is that we have become, in that sense, more reliant on feelings as we’ve moved more into this real-time, more combative style of public sphere.

Partly, what I’m talking about is that the acceleration of both capitalism and our media sphere means that we are in some ways navigating impressions all the time."
NewYorker  truth  enlightenment  emotions  interview 
february 2019 by briansholis
“I Don’t Think Character Exists Anymore”: A Conversation with Rachel Cusk
The idea that he, or that anyone, could find a different way of living, by a different way of inquiring and listening—that’s an idea that I have, of not necessarily what my book could do, but what any book could do.
RachelCusk  WriterInterview  NewYorker  fiction  FictionWriting  character 
january 2019 by briansholis
Sally Rooney Gets in Your Head
In the hierarchy of Rooney’s literary identities, millennial is greater than Irish, but post-recessionary may be greater than millennial. Her writing emanates anxiety about capitalism, which purports to be a meritocratic system but actually functions as a diabolical inversion of communism, redistributing wealth and privilege at the whim of the people who already have those things, “for whom surprise birthday parties are thrown and cushy jobs are procured out of nowhere.” If Rooney’s characters aren’t especially ambitious, if they have low stress thresholds, if they prefer foreign vacations to office jobs, forgive them. The game was over by the time they came of age.
profile  NewYorker  LaurenCollins  SallyRooney  fiction  Ireland 
january 2019 by briansholis
Hilton Als, "Maggie Nelson’s Many Selves," The New Yorker
It’s Nelson’s articulation of her many selves—the poet who writes prose; the memoirist who considers the truth specious; the essayist whose books amount to a kind of fairy tale, in which the protagonist goes from darkness to light, and then falls in love with a singular knight—that makes her readers feel hopeful. Her universe is “queer,” fluid, as is Harry’s (tattooed on the fingers of his left and right hands, respectively, are the words “flow” and “form”), but this sense of flux has little to do with the kind of sentimental hippiedom that emerged, say, in the Haight-Ashbury neighborhood of Maggie and Harry’s home town in the sixties. Nelson is just as critical of the politics of inclusion as of exclusion. What you find in her writing, rather, is a certain ruefulness—an understanding that life is a crapshoot that’s been rigged, but to whose advantage?
HiltonAls  NewYorker  MaggieNelson  profile  identity 
january 2019 by briansholis
Karl Ove Knausgaard, "Vanishing Point," The New Yorker
"Perhaps the foremost characteristic of our age, what sets it apart from all others before it, is that the sheer volume of images of the world—not just the world of the past, but also, and perhaps especially, that of the present, the world of which we are a part—is so massive. Any event, anywhere on the planet—an earthquake, a plane crash, an act of terrorism—will be available for us to view only moments later, in on-the-scene images we see and consider as we go about our day-to-day lives, stuck in our tailbacks of traffic, as we make our coffee, visit the bathroom, wash our clothes, prepare our meals, set our tables. Usually, we keep these different levels of reality apart, or at least I do. Even the worst disasters are something I merely register, with varying degrees of horror, as if the world outside were a film, a play, a performance, of concern to me only in the most superficial manner. At the same time, and more profoundly, such images provide a release insofar as they allow me the freedom of never having to be entirely present in my actual surroundings, in the routine state of boredom they constantly threaten to dull me with, since one’s attention is continuously being directed toward something else, to what is happening right now: the occurrence, the event, the news item."
KarlOveKnausgaard  NewYorker  speech  images  CulturalCriticism  immigration  fiction  Germany 
january 2019 by briansholis
Alice Gregory, "Sarah Manguso’s 'Ongoingness,'" The New Yorker
In her memoir, Manguso makes the striking decision never to quote the diary itself. As she started to look through the old journals, she writes, she became convinced that it was impossible to pull the “best bits” from their context without distorting the sense of the whole: “I decided that the only way to represent the diary in this book would be either to include the entire thing untouched—which would have required an additional eight thousand pages—or to include none of it.” The diary, she observes, is the memoir’s “dark matter,” everywhere but invisible, and the book revolves around a center that is absent. “I envisioned a book without a single quote, a book about pure states of being,” she writes. “It sounded almost religious when I put it that way.”
SarahManguso  AliceGregory  NewYorker  bookreview  diaries  memoir  writing 
january 2019 by briansholis
AnthonyLydgate, "How the Giraffe Got Its Neck," The New Yorker
Not until the seventeenth century did the English, who fixated on the giraffe’s camel-ish shape and leopard-ish coloring, stop calling it a camelopard. Today, of course, we recognize the giraffe as a distinct species, though the misapprehensions of the past endure in the animal’s Linnaean name: Giraffa camelopardalis.
2016Faves  NewYorker  AnthonyLydgate  giraffes  biology 
january 2019 by briansholis
Atul Gawande, "The Mistrust of Science," The New Yorker
"Science is not a major or a career. It is a commitment to a systematic way of thinking, an allegiance to a way of building knowledge and explaining the universe through testing and factual observation. The thing is, that isn’t a normal way of thinking. It is unnatural and counterintuitive. It has to be learned. Scientific explanation stands in contrast to the wisdom of divinity and experience and common sense."
Science  CommencementAddresses  AtulGawande  NewYorker  trust  ScientificMethod 
january 2019 by briansholis
Peter Brannen, "Glimpses of a Mass Extinction in Modern-Day Western New York," The New Yorker
This upstate ocean poked out from under farmland, and crumbled from rock walls behind gas stations. In the Devonian period—hundreds of millions of years ago—it was filled with sea lilies, sea scorpions, armor-plated monster fish, forests of glass sponges, and patch reefs of strange corals. At night, these reefs were cast in shimmering chiaroscuro, inviting moonlit patrols of sharks and coelacanths. Where the water met land in eastern New York, dawn revealed fish hauling ashore on nervous day trips—slimy, gasping astronauts under a withering sun.
PeterBrannen  NewYorker  science  geology  DeepTime  2018Faves 
january 2019 by briansholis
Ingfei Chen, "The Neurons That Tell Time," The New Yorker
"In it, the researchers argue that the neurons in the L.E.C. are creating 'timestamps' that record the order of unfolding events. The fact that the cells’ firing patterns change depending on what the animal is experiencing suggests that the L.E.C. isn’t measuring time like a wristwatch. Instead, Tsao said, 'It’s encoding ongoing experience.'"

"Speaking with Buzsáki, I found myself wondering what my brain was actually sensing when I seem to feel time flowing, second by second, minute by minute. 'It has to be measuring something else, such as change or speed or acceleration, for which we do have sensors,' Buzsáki told me. If that’s the case, then 'time' isn’t an absolute thing that our brains can 'track' or 'measure'; it’s more like an organizational system for making sense of change in the world around us and coördinating our lives."
IngfeiChen  NewYorker  science  brains  time  2018Faves 
january 2019 by briansholis
MR O'Connor, "Peter Matthiessen’s 'The Snow Leopard' in the Age of Climate Change," The New Yorker
"For Matthiessen, a serious student of Zen Buddhism, the expedition wasn’t strictly scientific. It was also a pilgrimage during which he would seek to break “the burdensome armor of the ego,” perceiving his 'true nature.'"
MRO'Connor  NewYorker  science  PeterMatthiessen  ZenBuddhism  ClimateChange 
january 2019 by briansholis
Vinson Cunningham, "What Makes an Essay American," The New Yorker
"After all, the essay, in its American incarnation, is a direct outgrowth of the sermon: argumentative, insistent, not infrequently irritating. Americans, in my observation—and despite our fetish for the beauties of individuality and personal freedom—are always, however smilingly, trying to convince somebody, somewhere, of something, and our essayistic tradition bears this out."
essays  NewYorker  VinsonCunningham  writing  AmericanCulture 
january 2019 by briansholis
Donald Hall, "The Poetry of Death," The New Yorker
"When death, as public as a President or as private as a lover, overwhelms us, it speaks itself in elegy’s necropoetics, be the subject a twenty-five-year-old bride or Enkidu or Edna Powers or Blind Harry or Abraham Lincoln or Jane Kenyon. “The Exequy” kept me company again when Jane died."
DonaldHall  JaneKenyon  NewYorker  poetry  PersonalEssay  memoir  death  mortality 
january 2019 by briansholis
Jiayang Fan, "George Orwell’s 'Little Beasts' and the Challenge of Foreign Correspondence," The New Yorker
"I flinched when I first read these words, a dozen or so years ago. This must have been how China, too, then seemed to the Western world, I thought: besieged, assaulted, molested, bruised. Even in the early aughts, it did not seem as if the country’s century of humiliation had come to a close; China’s rise only made evident how much further it still had to go. Reading Orwell’s words was, for me, to discover that those scars of shame had not faded."
JiayangFan  NewYorker  CulturalCriticism  GeorgeOrwell  ForeignReporting  2018Faves 
january 2019 by briansholis
Teaching William Zinsser to Write Poetry | The New Yorker
"Every Thursday at 1 p.m., while Bill’s wife, Caroline, was out, the two of us would sit at his dining-room table. We’d begin with lunch, chicken-salad sandwiches I brought with me. As we ate, we talked. Everyone was wondering how the career of Derek Jeter, the aging Yankee shortstop, now mired in a long slump, was going to end. “He’ll figure it out,” Bill said. “He always has.”

Our lunch conversations often morphed into our writing sessions, when I’d open my laptop and start typing."
DianaGoetsch  WilliamZinsser  NewYorker  PersonalEssay  writing  poetry  2018Faves 
january 2019 by briansholis
Valeria Luiselli, "Collected Poems," The New Yorker
"During my residency at Poets House, I set myself the simple task of documenting people reading. I wrote notes about their reading habits, sometimes exchanged a few words with them, and took portraits of many readers with a Polaroid camera. I was interested in capturing the way that people are simultaneously inside and outside when they are reading a book—inside the space the book opens before them, and outside it, occupying a physical place."
ValeriaLuiselli  NewYorker  LiteraryCriticism  PersonalEssay  reading 
january 2019 by briansholis
Susan Orlean, "Growing Up in the Library," The New Yorker
"It wasn’t that time stopped in the library. It was as if it were captured here, collected here, and in all libraries—and not only my time, my life, but all human time as well. In the library, time is dammed up—not just stopped but saved. The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever."
SusanOrlean  libraries  BookExcerpt  NewYorker  memoir 
january 2019 by briansholis
Katy Waldman, "One Year of #MeToo: 'He Said, She Said' Is a Literary Problem, Too," The New Yorker
Male rage and female pain have long been foundational literary topics. In books, as in life, narratives of male anger—from the Iliad to a speech by Donald Trump—command a reverent attention. (This interest in men’s interior lives, and in their ires, may have sociological roots: in her book “Toward a New Psychology of Women,” Jean Baker Miller suggests that all members of society stand to gain from theorizing about the psyches of the powerful.) Meanwhile, tales of female suffering, though profuse, are often dismissed as trivial or self-indulgent.
KatyWaldman  NewYorker  #MeToo  literature  CulturalCriticism 
january 2019 by briansholis
"Karl Ove Knausgaard Looks Back on 'My Struggle'," The New Yorker
"But from the second book on I never thought, I have to write about that moment. I would just start writing, and then I remember something, and then I write about that, and then I remember something else . . . and I like that, because then the moments will maybe not always be the important moments but could be the moments that are just beside the important ones. There’s a freedom in that."

"That’s why not fulfilling expectations is so important in literature and art. It makes it possible for us to see ourselves, because we’re no longer inside the expected but somewhere else—and from there we can see the world as we think it is. Art is a form of negotiation between our ideas of the world and the world."
NewYorker  KarlOveKnausgaard  WriterInterview  memoir  fiction 
january 2019 by briansholis
Elif Batuman, "How to Be a Stoic," The New Yorker
Reading Epictetus, I realized that most of the pain in my life came not from any actual privations or insults but, rather, from the shame of thinking that they could have been avoided. Wasn’t it my fault that I lived in such isolation, that meaning continued to elude me, that my love life was a shambles? When I read that nobody should ever feel ashamed to be alone or to be in a crowd, I realized that I often felt ashamed of both of those things. Epictetus’ advice: when alone, “call it peace and liberty, and consider yourself the gods’ equal”; in a crowd, think of yourself as a guest at an enormous party, and celebrate the best you can.
ElifBatuman  NewYorker  stoicism  epictetus  ClassicalCulture  CulturalCriticism 
january 2019 by briansholis
Daniel Mendelsohn, "The Countess and the Schoolboy," The New Yorker
"In the early spring of 1985, after failing miserably at the first and only regular job that I have ever tried to hold, I left New York City to return to the Southern town where I’d gone to college, and was there rescued from depression, or worse, by a French lady I knew who used to party with liveried monkeys. I was barely twenty-five, and more or less a virgin."
DanielMendelsohn  NewYorker  memoir  AmericanSouth  EccentricCharacters  2018Faves 
january 2019 by briansholis
James Wood, "W. G. Sebald, Humorist," The New Yorker
"The typical Sebaldian character is estranged and isolate, visited by depression and menaced by lunacy, wounded into storytelling by historical trauma. But two other works, “Vertigo” (published in German in 1990 and in English in 1999) and “The Rings of Saturn,” are more various than this, and all of his four major books have an eccentric sense of playfulness."
JamesWood  LiteraryCriticism  NewYorker  WGSebald  humor 
january 2019 by briansholis
Charlotte Mendelsohn, "In Praise of Autumn’s Rotting Beauty," The New Yorker
"Unlike Japan, with its seventy-two traditional kō, or micro-seasons—I write this in “chrysanthemum-blooming time”—the West has a paucity of good seasonal descriptions. It hardly matters, so long as we agree that it’s the best time of the year. ’Tis the season of mist, nature’s Photoshop; trenchcoats; barley; licensed melancholy; munificence; and glorious rot."
CharlotteMendelsohn  NewYorker  gardening  seasons  autumn 
january 2019 by briansholis
Janet Malcolm, "Six Glimpses of the Past," The New Yorker
"He loved opera, birds, mushrooms, wildflowers, poetry, baseball. I am flooded with things I want to say about him."
JanetMalcolm  NewYorker  memoir  photography  2018Faves 
january 2019 by briansholis
Emily Witt, "The Life and Art of Wolfgang Tillmans," The New Yorker
"At the back of the studio, in a large and mostly unfurnished room, new photos are printed and hung on the walls in a line. Tillmans comes in occasionally to look at them. It takes time to know if a picture is good, he said, as he stood quietly looking at a photograph of the sea, and, even then, “I can’t know, I can only hope that they last. You can’t be too sure about something, because otherwise you’re too full of yourself or you can’t see if there is a weakness in the work.'"
EmilyWitt  NewYorker  WolfgangTillmans  photography  profile  ContemporaryArt 
january 2019 by briansholis
Laura Marsh, "Sallie Tisdale’s Quietly Groundbreaking Essays About Caring for Others," The New Yorker
"The collection’s major theme is a complicated and often traditionally female sense of responsibility. Tisdale, who was born in 1957, earned a nursing degree in 1983 and then began to write in her off-hours: about being a daughter, being a nurse, being a mother. She published her first book, about medical miracles, in 1986, and a second, on daily life at a nursing home, in 1987. The same year, she published an essay in Harper’s titled “We Do Abortions Here,” a calmly heart-rending dispatch from the abortion clinic where she worked. The work of caring for others is at the center of Tisdale’s writing, and it proves an endlessly complex and engaging subject; so much emotional labor, these essays remind us, is still hardly understood as work at all."
nursing  SallieTisdale  LauraMarsh  NewYorker  2016Faves 
january 2019 by briansholis
Robert Moor, "The Dread and Bewilderment of Walking in Circles," The New Yorker
"When we reached the first fork in the trail, Remi propped up a stick against a tree so we would have a point of reference in case we got lost. We turned right and followed the trail around in a wide arc, chatting happily, until we found ourselves standing at a fork in the path. There, off to the side, was the stick Remi had propped up against the tree. Befuddled, we turned around and set off in the opposite direction this time, and, minutes later, found ourselves back at the stick again.

We were walking in a circle."
RobertMoor  BookExcerpt  NewYorker  2016Faves  walking  memoir  trails 
january 2019 by briansholis
André Aciman, "W.G. Sebald and the Emigrants," The New Yorker
How a friendship with two elderly Jewish refugees inspired the German novelist.
NewYorker  LiteraryCriticism  AndréAciman  WGSebald  2016Faves 
january 2019 by briansholis
Megan Marshall, "Elizabeth and Alice," The New Yorker
"Bishop was given a two-room suite for visiting scholars in Kirkland House, a men’s dorm favored by varsity athletes. There she encountered the slim, sensible twenty-seven-year-old house secretary, Alice Methfessel, whose eyes Bishop described as “blue blue blue” and whose disposition was as bright as the Sunny-Side Up formula she used to lighten her cropped hair. Methfessel helped Bishop move into her second-floor rooms and showed her how to use the basement washing machines. Soon, she was handling Bishop’s mail, and meeting her at the airport after a late return from New York. One night, she stopped in to see Bishop after a “beery party” with the boys of Kirkland House. They began spending nights together."
ElizabethBishop  biography  poetry  NewYorker  2016Faves  MeganMarshall 
january 2019 by briansholis
Anthony Lydgate, "Catching Dust," The New Yorker
About NASA’s attempt to learn about the origin of the universe by sampling dust extracted from a nearby asteroid
science  astronomy  DeepTime  AnthonyLydgate  NewYorker  2016Faves 
january 2019 by briansholis

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