The New York School of Urban Ecology: The New Yorker, Rachel Carson, and Jane Jacobs

2010 ◽  
Vol 82 (3) ◽  
pp. 583-610 ◽  
Author(s):  
J. C. Rowan
2020 ◽  
pp. 171-180
Author(s):  
Derritt Mason

This book’s conclusion reiterates the argument that queer YA is an anxious genre that perpetually rehearses a nervous uncertainty about its own constitution. Mason steps back to consider queer YA’s relationship to children’s literature more broadly, entering the discussion through a concept developed in Beverley Lyon Clark’s Kiddie Lit: the “anxiety of immaturity” that circulates around and within children’s literature and its criticism. Mason revisits the “Great YA Debate” of 2014, which followed a Slate piece by Ruth Graham entitled “Adults Should Be Embarrassed to Read Young Adult Books.” This debate included high profile pieces by Christopher Beha and A.O. Scott in The New York Times Magazine and The New Yorker, both of which evince a profound ambivalence about whether or not adults should be reading young adult literature. These conversations, Mason concludes, illustrate how young adult literature continues to be an unceasing source of adult anxiety.


adComunica ◽  
2021 ◽  
pp. 45-64
Author(s):  
Maria Perez Diaz

En 1967 y como respuesta a las críticas sobre sus reportajes del juicio en Jerusalén contra Adolf Eichmann, Hannah Arendt publicó en las páginas de The New Yorker un ensayo titulado «Verdad y Política». Cuatro años después, y tras la filtración de los papeles del Pentágono, firmó en The New York Review of Books un ensayo hermano titulado «La mentira en la política». El presente artículo toma como punto de partida dichos trabajos para discutir la actualidad del pensamiento arendtiano en relación con el actual fenómeno de la posverdad. A través de una metodología histórico-hermenéutica fundamentada en una amplia revisión documental tanto de fuentes primarias como secundarias, el objetivo del presente artículo será analizar y valorar el concepto de defactualization, acuñado por la pensadora alemana con motivo de la publicación de los papeles del Pentágono para hacer referencia al enmascaramiento de la realidad, como un proto-concepto con el que Hannah Arendt ya nombró el fenómeno que hoy conocemos como posverdad, incluso antes de que el propio término apareciera. Partiendo de esa base, se examinan tres características que se encuentran tanto en las reflexiones de la pensadora alemana durante el pasado siglo como en las investigaciones actuales en torno a la posverdad: la irrelevancia de la verdad factual, la pérdida de confianza de los ciudadanos en la política, y la destrucción de la esfera pública; una ruptura del necesario espacio público de debate político, de contraste de ideas y de generación de acuerdos y consensos como consecuencia de todo lo anterior.


2021 ◽  
Vol 74 (3) ◽  
pp. 46-55
Author(s):  
Sarah Kessler

Abby McEnany’s new comedy series Work in Progress (Showtime) and Hannah Gadsby’s recent standup specials Nanette and Douglas (Netflix) evoke “butch middlebrow,” a contemporary aesthetic and affective sensibility distinguished by the cozy reception it enjoys among straight, white, liberal viewers and critics. McEnany’s and Gadsby’s works have occasioned praise from cosmopolitan gatekeepers like the New York Times and the New Yorker for their self-aware brands of comedy rooted in unvarnished portrayals of butch trauma. Critics ritually insist on the implausibility of Gadsby’s and McEnany’s success, but the popularity of these queer creators’ offerings is not as unlikely as so often presumed. Indeed, the middlebrow butch’s alleged improbability does not render her cultural accolades improbable; it may even ensure them, allowing a new canon of butch respectability to emerge in the light shed by the beacons of aspirational culture.


Author(s):  
Emily Botein

Emily Botein is a full-time radio collaborator. As senior producer for The Next Big Thing, she orchestrated many of the show’s most inventive pieces with host Dean Olsher, including partnerships with artists like Sherre DeLys and Rick Moody (who wrote the foreword to the first edition of Reality Radio). Since The Next Big Thing went off the air in 2006, Emily has worked with a variety of producers for a range of shows, including NPR, Studio 360, and Weekend America. She is now vice president for on-demand content at WNYC Radio in New York, where she works closely with such shows as Death, Sex & Money, The New Yorker Radio Hour, and Here’s the Thing. She “came to radio through food.” In her essay, Emily offers a delightful comparison of her work in radio with that of her former life as a sous chef.


Author(s):  
Arne De Boever

Chapter Six shows how Ben Lerner’s 10:04 is a realist finance novel that takes on the financialization of the novel itself. If Houellebecq in his investigation of finance was mostly focused on art—understandably so, given that the art market obviously exceeds that of literature—Lerner puts the novel at the heart of such a project and delivers a novel that revolves around the promise of the novel: a projected novel, existing on contract, auctioned off for “a strong, six-figure advance” among the New York publishing houses on the basis of a short story that its author published in The New Yorker. The chapter shows that in its focus on the future, Lerner’s novel takes on the topics of capitalism and financialization, asking the difficult questions about the value of a commodity such as the novel and of what the chapter characterizes as a financial instrument such as the novel “on spec.” As a meditation on the future, Lerner’s novel is an investigation into finance and the possibility of a future that would remain outside of the financial logic, or at least operate critically within it.


Sign in / Sign up

Export Citation Format

Share Document