Corey Robin on neoliberal journalists
A writer can’t help being political, even if she simply goes along with the uninterrogated cultural assumptions of her day. Obviously I think it’s better to be consciously aware of the political origin of your ingrained attitudes; but I also think this core material should be handled with some restraint by the text. Your arguments shouldn’t appear on the surface but infect the whole, from setting to characterisation to imagery and on. Your logic should be poetic, ironic, quietly self-aware. Your metaphors should underlie, they should be the geomorphology that constructs every textual landform. They should emerge organically from the events you describe, like the product of relations at an earlier level. Above all, your politics must intricate themselves with the product of your deep imagination–your own deepest strata–because unless fantasy and science fiction originate down there, they are worthless as social, imaginative or even entertainment product. That’s my feeling. The best work neither shows nor tells: it says by being, not by saying.
African-American student protests reflect the many anxieties facing the black middle class
"For some, the Anthropocene debates seem irrelevant: does it matter where in the past geologists decide to place a golden spike, when such urgent questions remain about our future? But the liveliness of the discussion reflects the explanatory promise of the Anthropocene concept: it is a debate over what kind of story can and should be told about human impact on the planet. The claim is often made that climate change is simply too big to see—that it is what eco-critic Timothy Morton terms a hyperobject, something that cannot be realized in any specific instance. The Anthropocene offers climate change not just periodicity but narrativity. And like any well-told story, it relies upon conscious plotting and the manipulation of feeling."
Keeanga-Yamahtta Taylor on racism and privilege
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