New York Review of Books
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It’s a daring move, paraphrasing a masterpiece like Joyce’s Ulysses, but in his new novel, James Hannaham shows us why a writer might do it.
During October’s marathon argument in a pair of affirmative action cases, the most racially diverse Supreme Court in US history debated the value of diversity.
Was abolition intended as a perpetuation of slavery by other means?
In Roald Dahl’s stories, cruelty begets cruelty, children grow large, adults grow small, and everyone is trapped in a fun house of dirty, depthless mirrors.
Free from the Archives
On Thursday, the Canadian avant-garde filmmaker Michael Snow died at ninety-four. Writing for the Review’s website in December 2021, J. Hoberman argued that his films “were as visceral as they were conceptual, designed to make the viewer conscious of what it is to watch a motion picture.” His best known work, Wavelength (1967), could be “most simply described as a slow, continuous forty-five-minute zoom across a largely empty loft into a photographic close-up of gentle waves pasted between the windows on the opposite wall.” But it was also, Hoberman writes, “a perfect metaphor for narrative film,” one of cinema’s great “monuments in space and time.”
“I cannot imagine another artist of the minimalist, conceptual, anti-expressive persuasion whose work expresses a personality as fully as his does.”
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