Consider the Sister

Amy Wallace has spent two decades guarding the human her brother was—against a world that prefers David Foster Wallace as a puzzle.

Early on Saturday mornings, Amy Wallace would be yanked out of bed by her big brother, David. He was determined not to miss the start of the cartoons. At their home in Urbana, Illinois, the siblings situated themselves in front of the television and waited for the color bars to turn to The Road Runner Show, David eager, impatient, full of energy. Eventually, he would splay out on the carpet and Amy would sit behind him on the couch. More than 50 years later, Amy is still haunted by the sensory experience of that couch. It was pea-green and scratchy, yet she dutifully—and gladly—sat there as part of their sibling ritual.

 

Their mother, Sally Foster, described the scene this way: Amy spent her mornings watching David watch TV. But that’s not quite right.

“Watching television with David was an interactive experience,” Amy says. The two children weren’t content with what was on offer. Often, they would invent new dialogue for the characters extemporaneously.

“That was one of our hobbies,” Amy says. “We just thought, whoever’s writing this, it could be so much more interesting.”

David identified as the Road Runner and told Amy she was his Wile E. Coyote. He had the speed, the tools—and the upper hand. She was left with only her wits to try to keep up with him, but of course she never could. The lot of Wile E. Coyote was to follow the Road Runner hopelessly, never to catch up.

It was hard work being David Foster Wallace’s little sister. It still is. The job of preserving the memory of her brother as a complex, vibrant, often joyful person has fallen to her. It’s been nearly 20 years since his death by suicide, and while the legend of DFW the writer has grown, the story of the human has been flattened to the stereotype of a tortured artist who came to a tragic end.

Amy, who lives in Arizona, is now the only living member of the nuclear Foster Wallace family. James (a philosophy professor) and Sally (an English professor) moved from Urbana to Arizona in 2012. James died in July 2019, and Sally died just over a year later in July 2020.

The grief over the deaths of her brother and then her parents is a constant companion.

“Nearly every morning of my life, as a fully grown adult woman living a full adult life, I wake up and I’m back in my childhood bed,” she says. “My mom is making breakfast and David’s in his bedroom and it’s so vivid. Then I open my eyes and it’s like nope, that’s all gone.”

Amy’s own children are adults now. She says her eldest is now a writer as well. (Amy asked me not to describe them, to preserve their privacy.) They were old enough to have strong memories of their uncle, and they bear a strong physical resemblance to him. David’s death was a very public wound for a mostly private family.

In 2001, David published a piece of fiction about a man grappling with suicidal ideation. He wrote, in part: “I apologized for whatever pain my suicide and the fraudulence and/or inability to love that had precipitated it might cause” his family. To some extent, he foresaw the shadow he would cast.

Years after David’s death, their father asked Amy to write a book about him from her perspective. He asked her to make sure the people who raised him got a say in his memory, too.

Amy decided a book would be too invasive—but she came to understand that she had a responsibility to talk about her brother beyond the legend that was partly of his own fashioning. She has given radio interviews, appeared at a conference dedicated to David’s work, and has spoken to me at length about the person who teased her, protected her, alienated and embraced her, and eventually broke her heart.

“I do feel that it's kind of incumbent on me to let the world know what a very normal person he was,” Amy says. “And that he was mostly happy, generous—and extremely funny.”

*****

Amy has a knack for making you feel, very quickly, like you too knew this brotherly version of David, knew the sincerity of his often oddly shaped affection.

My own connection with Amy came as the result of my insecurity around David’s work, not the sort of deep, life-defining fanaticism that one often encounters in the cult of DFW. Generally, I have viewed his work the way I have at times felt about Salvador Dalí—we’re all humans with the same general set of blood, guts, and brains. How could these people pull so much more out of themselves than the rest of us?

In many ways, this envy has stood in the way of my own appreciation of David’s writing. It’s great, profound, and will never be repeated. But how did he know so many words? What’s the deal with that syntax? Why do I write in plain, gray English while his work hits my eyes like Technicolor?

In April 2025, I emailed Amy out of the blue. Here is what I said:

“I'm hoping that you might be willing to be interviewed about your mother and let me learn more about her life and work. I have always had a hard time getting past my envy of your brother's vocabulary, and I felt a little bit better about it when I read a bit about Sally.

“So, naturally, my curiosity turned to her and her life. I'd love to write a real feature piece about Sally.”

Amy and I spoke at length over the following weeks. She suggested I buy a copy of her mother’s textbook Practically Painless English. I read it on the subway and felt immediate clarity upon reading just the first few pages.

In a section about verbs, Sally laid out an exercise:

1. Please circle each verb you find in these sentences.
2. The fox moaned and groaned when the chicken escaped.
3. I baked a cake for Mongo, but he turned bright green after he ate some.
4.George is upset because his father thinks he lied about the cherry tree.
5. Florence sneaked out of her room, tiptoed down the stairs, and dynamited the refrigerator.
6. The big fish kept out of trouble because he shut his mouth and stayed in school.

Practically Painless English isn’t just a textbook for people who want to learn to speak proper English. It’s a guide to using language with personality. If Strunk and White offer a guide to frictionless diction, Practically Painless English demonstrates how to stand out within a traditional framework. I probably would have been a much more interesting writer if I’d been raised by a parent who felt so strongly that storytelling should contain detail, whimsy, and flair. Then I realized that Amy was raised by just such a parent, too.

Eventually, months after our first conversation, I reached out to Amy again. This time my curiosity turned to her and her life. I asked her if I could write a real feature piece about her.

In the course of subjecting Amy to many, many hours of conversations about herself, her brother, and my own writing life and hangups about it, I found someone who is as entertaining as she is earnest. Scrutiny around David’s upbringing is inevitably scrutiny of her own upbringing, though hardly any of those critics care to understand her experience—or even know she exists.

She carries that family trait of delighting in absurdity. She hasn’t deified or demonized her brother despite the persistent desire in the literary community to do one or the other. One afternoon, as she was detailing how David watched television, she described just how long she had to sit with him on Saturday mornings before the start of their cartoons.

“Well, no one ever accused your brother of brevity,” I responded, anxiously. I wondered where the line was between respecting the memory of someone and treating them like they were a real person whose peculiarities were worthy of note.

“Or patience,” she said, upping the ante and putting me at ease. “He bounced off the walls in those days.”

One of the ways that Amy protects her brother’s humanity is by showing how his anxieties seemed to travel through a prism and shoot out at unexpected angles. The gloomier results are well known, but there could be humor, too, in the fears provoked not just by his anxiety but by his own ethic of deep care.

She recalls David had an obsession with sharks—which she believes stems from a book called Shark Attack that lived in the bathroom they shared for a portion of their childhood.

Many years later, Amy went to study abroad in Australia. The water was warm there, and she was enjoying herself at the beach regularly after spending her childhood in the landlocked Midwest. Back in the United States, though, David kept thinking about the sharks. He sent letters reminding his sister how to spot them in open water. There was money, too, because he was distraught at the idea that she might wind up short on resources while out on her own. Amy was fine, but David was determined to protect her, in his own way.

“He’d sign off his letters to me with a picture of a shark fin,” Amy says. “Then there’d be a little stick figure. Oh my god, it was great.”

Amy says the last time she and her family spent significant time with David was on a vacation to Stinson Beach.

“When any of us were in the water, he'd be standing on the deck with binoculars scanning for fins,” she recalls. “He was so terrified of sharks and he didn't stick a toe in the water.”

Before he was the most revered and studied contemporary American author, DFW was just someone’s older brother. Amy didn’t see him as DFW, the public character. But she can talk at length about the person she grew up with.

by Lindsey Adler, The Small Bow | Read more:
Image: Road Runner Show/dreamstime

Something Big Is Happening on Campus

I get to visit about two dozen campuses every year, and I meet at least a few teachers like Montás at each of them. I can generally spot the ones with the pure disease, the ones with that raw teacher-fire. Usually, they had some experience early in life when they fell in love with learning. This love then became a ruling passion, and now they fervently seek to share it with their students in the classroom. You can find them at Ivies and at community colleges, at big state schools and small liberal-arts colleges. They are a part of what’s going right in American higher education, the part that critics (like me) don’t write about enough.

These teachers talk of their vocation in lofty terms. They are not there merely to download information into students’ brains, or to steer them toward that job at McKinsey. True humanistic study, they believe, has the power to change lives. They want to walk with students through the biggest questions: Who am I? What might I become? What is this world I find myself in? If you don’t ask yourself these questions, these teachers say, you risk wasting your life on trivial pursuits, following the conventional path, doing what others want you to do instead of what is truly in your nature. If society doesn’t offer this kind of deep humanistic education, where people learn to seek truth and cultivate a capacity for citizenship, then democracy begins to crumble. “What I’m giving the students is tools for a life of freedom,” Montás says.

These great teachers are the latest inheritors of the humanist tradition. Humanism is a worldview based on an accurate conception of human nature—that we are both deeply broken and wonderfully made. At our worst, humans are capable of cruelty, fascism, and barbarism that no other mammal can match. On the other hand, deep inside of us we possess fundamental longings for beauty, justice, love, and truth, which, when cultivated, can produce spiritual values and human accomplishments breathtaking in their scope.

Life is essentially a battle between our noblest aspirations and our natural egotism. Humanistic education prepares people for this struggle. Yes, schooling also has a practical purpose—to help students make a living and contribute to the economy. But that practical training works best when it is enmeshed within the larger process of forming a fully functioning grown-up—a person armed with knowledge, strength of judgment, force of character, and a thorough familiarity with the spiritual heritage of our civilization. Preprofessional education treats people solely as economic animals; humanistic education also treats them as social and moral animals.

Humanistic teachers do this by ushering students into the Great Conversation—the debate, stretching back centuries, that constitutes the best of what wise people have thought and expressed. These teachers help students encounter real human beings facing the vital challenges of life: Socrates confronting death, Sun Tzu on how to manage conflict, Dante in love, Zadie Smith on living in the boundary between different identities. The Great Conversation represents each generation’s attempt to navigate the dialectics of life, the tension between autonomy and belonging, freedom and order, intimacy and solitude, diversity and cohesion, achievement and equality. The Great Conversation never ends, because there are no final answers to these tensions, just a temporary balance that works for a particular person or culture in a particular context.

By introducing students to rival traditions of thought—Stoicism, Catholic social teaching, conservatism, critical race theory—colleges help students cultivate the beliefs, worldviews, and philosophies that will help them answer the elemental question of adulthood: What should I do next? By introducing them to history and literature, colleges arm students with wisdom about how humans operate, which is handy knowledge to have. They offer them not only life options but also, more importantly, the ability to choose among them. “Any serious human problem is a hard problem,” Andrew Delbanco, who teaches at Columbia, told me. “The fundamental obligation of a humanities teacher is to try to develop in students an allergy to ideology and certainty. To acknowledge self-doubt.”

But humanistic education is no mere intellectual enterprise. Its primary purpose is not to produce learned people but good people. When teachers do their job, they arouse in their students not only a passion for learning but also a passion to lead a life of generosity and purpose. “The correct analogy for the mind is not a vessel that needs filling, but wood that needs igniting—no more—and then it motivates one towards originality and instills the desire for truth,” Plutarch observed many centuries ago.

Teachers do this by making excellence attractive to the young—excellent lives, excellent ideas, excellent works of art, commerce, and science, and, above all, excellent ideals. The students who are captivated by these ideals find some cause to advance, some social problem to address, some business to start. When confronted by inspiring ideals, many students say: I care intensely about this, I want to orient my life around this. It’s not only their minds that have been refined but also their desires and ambitions. In a true humanistic education, the French philosopher Jacques Maritain wrote, “the shaping of the will is thoroughly more important to man than the shaping of the intellect.”

Preprofessional education is individualistic and selfish. Such students learn to ask: How can I outcompete my peers and beat them up the ladder to success? In a humanistic program, by contrast, groups of people gather to form communities of truth, to reason together, to explore life together, to pool their desires and seek the common good.

I find that students flock to humanistic teachers who radiate a sense of urgency. They tell students: We are doing something important here. College is not just frat parties and internships; it’s potentially the most important four years of your life. You can emerge either an anesthetized drone or a person fully curious, fully committed, and fully alive.

I know this kind of education can have this effect because it is the education I got decades ago at the University of Chicago. I knew I could never be as learned as the professors I encountered, but their passion for large topics and great books seemed so impressive to me. I yearned with all my soul to understand the world as best I could, to embark on a lifelong journey of growth. Whatever my ample failings, that yearning, kindled in those classrooms with those books and those teachers, has never gone away. I stumbled unknowingly into a humanistic education, because it was the only college I got into, but I can tell you, it totally worked on me.

Today, the teachers I’m talking about tend to feel like dissidents within the academy, like they are doing something countercultural. That’s because at most schools, humanistic education has been pushed into the remote corners of academic life. It’s not that people woke up one morning and decided to renounce the humanistic ideal, it’s just that other goals popped up. It was easier to fundraise for them, easier to sell them to tuition-paying parents. The idea of forming students into the best version of themselves sort of got left behind. [...]

Mark Edmundson also grew up in a working-class family, in Medford, Massachusetts. He got into college, something no one else in his family had done, and told his father that he might study prelaw, because you could make a decent living as a lawyer. His father, who had barely graduated high school, “detonated,” Edmundson later recalled. You only go to college once, his father roared, you better study what genuinely interests you. The rich kids get to study what they want, and you are just as good as any rich kids.

Edmundson soon encountered Sigmund Freud and Ralph Waldo Emerson. “They gave words to thoughts and feelings that I had never been able to render myself,” he wrote in his book, Why Teach? “They shone a light onto the world, and what they saw, suddenly I saw, too.” Edmundson now teaches poetry and literature at the University of Virginia.

“To get an education, you’re probably going to have to fight against the institution you find yourself in—no matter how prestigious it might be,” Edmundson once told an audience of students. “In fact, the more prestigious the school, the more you’ll probably have to push.”

The forces arrayed against humanistic learning are many:

by David Brooks, The Atlantic |  Read more:

Image: The Atlantic: Source: Laurie Michaels/Bridgeman Images
[ed. Contrast this with someone (below), who believes that colleges should be modeled after OnlyFans, and that hyper-specialization ("edge" degrees where AI will supposedly be less adept) are the future. I know which curriculum I'd choose.]

Bob Spitz on the Rolling Stones, Bruce Springsteen, and the Art of Biography

Bob Spitz has written major biographies of the Beatles, Led Zeppelin, Bob Dylan, and now the Rolling Stones — but also, somehow, Ronald Reagan and Julia Child. In rock, his credentials were hard won: he started out hustling gigs for an unknown Bruce Springsteen for six years, moved on to handling Elton John’s American business, and spent long enough in the world to find himself jamming with Paul McCartney and chatting with Bob Dylan on a stoop in the Village. The Reagan and Julia Child books are harder to explain, and perhaps that’s the point—Spitz seems to do his best work when he has no business writing the book at all.

Tyler and Bob discuss how the Stones became so great so quickly, what they added to the blues, how their melodies stack up against the Beatles’, whether Exile on Main Street deserves its canonical status, which songs are most underrated, what Charlie Watts actually got out of playing in a rock band, the rise and fall of Brian Jones, how the Stones outlasted nearly everyone, the influence of Mick’s London School of Economics training, why popular music has lost its cultural influence, what we should still be asking Paul McCartney and Ringo Starr, whether the Beatles’ breakup was good for the world, how senile Reagan really was in his second term and whether he was ever truly a communist, how good a cook Julia Child actually was, his next book on Lennon’s second act, and much more.

TYLER COWEN: Hello, everyone, and welcome back to Conversations with Tyler. Today I’m sitting here chatting with the great Bob Spitz, the biographer. He has a new book out, which I enjoyed very much, The Rolling Stones: The Biography. He has other very well-known books on the Beatles, Led Zeppelin, Bob Dylan, Ronald Reagan, Julia Child, and more. Bob, welcome.

BOB SPITZ: My pleasure, Tyler. Nice to be with you.

COWEN: Did the Rolling Stones have a long apprenticeship period the way the Beatles did? It seems they didn’t. How did they become so great so quickly?

SPITZ: Actually, they did. They worked in a little club called the Crawdaddy Club, which was in Richmond, a suburb of London. They worked long and hard there. In fact, the first time, and I document this in the book, the first time they show up, only six kids show up. They’re despondent. They go and talk to the head of the club. He said, “Look, play as if there are 100 people there and next week, there will be 100 people.”

Next week, there was 100 people. They played as if there were 100. The next week, 200 came. They worked in that club for about six months. Then they went on the road. They played a lot of really crappy little places, the same way that the Beatles did. Perhaps not as long an apprenticeship, but they served their time pretty well.

COWEN: That seems quite short, those six months. You read about Paul McCartney. He writes songs when he’s age 14, age 16. Is there anything comparable in the Rolling Stones?

SPITZ: No, not really. The Stones never dreamed that they would write music. It was beyond them. They were blues singers. Their primary goal in life was to bring that rich catalog of Delta and Mississippi, and Chicago blues to the world. They did not care about writing songs at all. They saw themselves as authentic blues masters. It was only their young manager, Andrew Oldham, who insisted if they were going to go anywhere, if they were going to compete in the music world, the pop music world, they would have to write music. They gave it a try. This came maybe two years after they were already on the road.

On the sound of the Rolling Stones

COWEN: There’s something they added to the blues. If you were to put your finger on what that was, the secret to their sound, the blues plus X, what’s the X there?

SPITZ: Rock ‘n’ roll. The X is rock ‘n’ roll. They jacked it up. They hotwired the blues. They turned it into a sound that we now know as rock ‘n’ roll. Chuck Berry and Bo Diddley started that sound. Then the Stones really gave it extra power and ferocious guitar and gave us the sound that we now know as rock ‘n’ roll today.

COWEN: They also have some songs that are very good. You could say almost Country and Western music, say, circa 1968. There’s some other element musically other than just rocking that they’re adding all along.

SPITZ: Absolutely. They took the records that the American servicemen had left behind after World War II. They left thousands of records behind. The majority of them were Country and Western records. The Stones grew up, like the Beatles did too, loving Country and Western music, courtesy of the American servicemen.

COWEN: Viewed objectively, how good are their melodies, just as melodies? If you ask about the Beatles, here, there, and everywhere, that’s an A-double-plus melody. How do you rate the Stones?

SPITZ: I would rate them maybe a B minus. Their rock and roll melodies are spectacular. “Gimme Shelter,” “Jumpin’ Jack Flash,” “You Can’t Always Get What You Want,” these are melodies that I would put up against some of the Beatles’ better songs, but perhaps not as lush, not as romantic as the Beatles. Melodies in a different mode. [...]

On art colleges and rock ‘n’ roll

COWEN: Here’s a sentence from you: “The nascent British rock ‘n’ roll movement was born in art colleges.” Please explain.

SPITZ: Oh, well, art colleges, we don’t have them here, but they are a foundation of UK education. There is an 11-plus test that is given to every student when they’re 11 years old, and it really determines whether or not they’re going to go on to university or they’re going to go to a vocational school. In those early days, a vocational school meant that you’d wind up working in a factory. You’d wind up working as a clerk for the railroad. You’d take on one of those jobs.

Art schools came into being, and this was a repository for people who had talent but didn’t know what to do with it and weren’t that academic. Art schools sprang up in almost every community in the UK. We have people like Jimmy Page coming out of art school, Keith Richards, Jeff Beck, Pete Townshend, all the great rock ‘n’ roll—

COWEN: John Lennon, also, right?

SPITZ: John Lennon, absolutely, went to Liverpool College of Art. It was an incubator for the arts, but also for rock ‘n’ roll because people brought their instruments to school, and they would play in the cloak rooms. That’s where they really formed bands and learned how to play with other musicians. The art school movement really gave us that whole British rock ‘n’ roll thing to this very day. Florence Welch of Florence and the Machine came out of it. Jarvis Cocker came out of art schools. They’re still thriving in the UK, and they’re still giving us new, innovative music. [...]

COWEN: Mick once said his favorite economist was Friedrich A. Hayek. Do you know anything more about that?

SPITZ: I do not, actually. I think it’s incredible that Mick had favorite economists. We do know that Mick was a scholarship student to the London School of Economics, and that for two and a half years, he attended and got pretty good grades. He did fairly well. The one thing that amazes me about Mick coming out of that London School of Economics is this. After 1967, when Andrew Loog Oldham stopped managing the Stones, they have never had another manager. They’ve had some money managers, but as far as managers go, Mick Jagger was their manager.

He has served as the Rolling Stones’ manager, bringing all of his experience from the London School of Economics since 1967. He’s negotiated all of the recording contracts, their publishing contracts. Every tour that comes along, he negotiates with the promoters. Every date he oversees, he designs the stage, and he invests the Stones’ money. So remarkable that this guy, a London School of Economics dropout, let’s call him that, has done so well for the rest of the band. [...]

COWEN: Let’s say we put you in charge of social welfare. Was it good that the Beatles split up when they did? I mean for the world, not for them.

SPITZ: Perhaps it was. I always felt that a lot of people run out of steam after three or four albums. If you look at Bob Dylan and Neil Young and Van Morrison and The Who and maybe even The Rolling Stones, after a couple years, after maybe four or five albums, they start trying to duplicate themselves. The Beatles gave us everything they had, and then they stopped. We have 230-some songs, perhaps the most remarkable songbook, aside from Hammerstein and Rodgers, that we know of from the 1900s on. The Beatles songbook I would put up against anybody’s. I think maybe if they had stayed together, they might have lost some of that spark.

COWEN: Think how many more George songs we got from this split, or Paul songs for that matter.

SPITZ: Absolutely right. George, toward the end, George really came into his own. Even after, in his solo career, we got some real gems out of George. I think it took him a little longer. More than that, I think he learned how to step out of the Lennon-McCartney shadow and stand on his own two feet.

COWEN: What did you learn jamming with Paul McCartney?

SPITZ: Boy, that was an experience.

COWEN: What year is this, just for context?

SPITZ: 1997. The New York Times Magazine sent me to the UK right after Paul was knighted to talk to him about that and give me a few of his memories of John Lennon. We were in Hastings in his house. It was a strange experience because I expected Paul McCartney to have an expensive house. It was really this tiny two-and-a-half, three-bedroom cottage. I said, “Do you actually live here?” He said, “I do.” I said, “But you have five children. You have three bedrooms.” He said, “Linda said that we all need to live on top of one another. That’s what we do. We are a family here.”

As I was leaving, he said, “Hey, you’re a musician, right? Want to see the studio?” Of course, that was like catnip to a guy like me. We went downstairs, and he shows me. It was a room no longer than say my dining room in New York City, but there were all the instruments from Abbey Road that he had, as well as Bill Black’s bass. Bill Black was Elvis Presley’s bass player. Paul had bought all these instruments and maintained them.

He said, “Sit down.” I said, “Sit down?” Paul sat down at the piano, and he nodded me into a guitar. What did we play? We played a few Beatles songs. It was frightening. I played with some great musicians before, but when you see Paul McCartney nodding you into a song, it’s a different feeling altogether, believe me.

COWEN: He was good?

SPITZ: Was he good? Oh, yes. I would say he was good. Then I let him sing “Maybe I’m Amazed” by himself on the piano. That was freakish, having a private audience in a tiny room. Never experienced anything like that before. [...]

On Robert Caro

COWEN: What is Robert Caro like?

SPITZ: Robert Caro is the guy I look up to whenever it comes to writing biographies. That man has a way with words that has often intrigued me and humbled me. I was at a party one time, and a guy came over and said, “I hear you’re writing a book about Ronald Reagan.” There were about 150 people in this party. I said, “I am.” He said, “Could you talk to me about it a little?”

We sat down on the couch. I looked, and I saw over the man’s shoulder, my wife was going, “It’s Robert Caro. It’s Robert Caro.” At which point, my semi-intelligent dialogue became bedab, bedab, bedab, bedab. He was an incredibly thoughtful man. He sent me a number of notes from time to time. He is the biographer’s biographer. I don’t know how he does it. A great read.

COWEN: Why doesn’t he do more in public? Is it a Bob Dylan kind of thing, or just he’s too busy writing and researching?

SPITZ: I think he’s too busy writing. This guy writes and researches around the clock. I have learned not to do that. From what I’ve gathered, he’s up to his eyeballs in work day and night. He lives to do that. That’s his process.

COWEN: Does he understand how much of a cult surrounds him since he’s not out in public much?

SPITZ: I think he does. When he’s out in public, people stop this guy on the street. He’s like a rock star. He gets a lot of letters from people, especially people who want to know if he’s ever going to finish that last installment of the Johnson biography. I expect we’re going to see that any day.

by Tyler Cowen and Bob Spitz, Conversations |  Read more:
Image: uncredited/Conversations with Tyler

Critical Mass

Rick Beato Versus the NY Times

Fifteen days ago, the New York Times published its list of the 30 greatest living American songwriters. Since then, all hell has broken loose in the music world. And in the last 48 hours, that Hades just got a lot hotter.

I’d been one of the 250 “music insiders” surveyed by the Times for the article—so the day after the list was published I shared my ballot here.

I was unhappy with the results, as were many other music fans. But that might have been the end of the story. Surveys are always a bit dodgy—but what can you do about it?

Then I took time to learn about the Times methodology and was even more dismayed. In fact, I was miffed.

I assumed that I was voting for the songwriters who would be included in the list. But I now see that the experts consulted by the Times only got to make nominations. The final 30 names were chosen by six New York Times music critics.

There never was a real vote. The Times got the results it wanted internally—the insiders made the final call. But the way they explained it to their readers was intentionally vague.

In small print, readers were told that industry experts “weighed in”—whatever that means.

Readers were invited to click on a link to learn “how we made the list.” But even here, the Times served up fuzzy language.

If you kept on reading, you eventually learned the truth. The Times took the verdict of the “experts” and then “ran it through a filter.” The survey was just a “starting point.” The actual top thirty was decided via a “conversation” among its internal team.

Huh?

The Times did share a few ballots, and even this small sample made clear how different the final list was from the survey of experts. That would be embarrassing for the Times under the best of circumstances, but especially so in the current environment—when that same newspaper has repeatedly expressed outrage about voter suppression and attempts to subvert democracy.

If the Times really believes in the importance of voting and standing by results, why doesn’t it just share the actual ballot count?

Even so, this all might have been forgotten. But last Friday, the Times made the mistake of releasing a video entitled “In Defense of the NYT ‘Greatest Songwriters’ List.”

Here members of the inside team came across as smug, maybe even contemptuous, in responding to music fans who reached out to them. At one juncture, a Times critic laughs at a comment from a reader—simply for saying that he went to the Berklee College of Music. Then he continues to chuckle and smirk as he reads the rest of the reader’s comment, before finally throwing it on the floor.

This music lover had made the mistake of defending Billy Joel. For a serious critic at the Times, that is apparently very funny. [...]

During the subsequent 72 hours, the backlash intensified. A fiery response from esteemed jazz pianist Brad Mehldau was ostensibly a defense of Billy Joel, but focused mostly on the problems with music criticism of this sort. He describes a music critic character type very similar to the one I warned against in my article:

He is a snob who wants to be hip, so he becomes a critic. He listens to music not because he loves music, but because of how it defines his understanding of himself, narcissistically.

But even this response was mild compared to Rick Beato’s take, which went live yesterday. Rick is a very smart guy with big ears and a deep understanding of music—much deeper than those Times insiders. And his words carry weight. By my measure, Beato has more influence than any music critic in the world right now, and when he says something, it gets attention.

Rick had already released a video about the Times songwriter list, and he rarely deals with the same issue a second time. “I don’t usually make videos back-to-back on the same topic,” he explains. But he was also irritated by the tone of the Times video and felt compelled to respond to it.

His rebuttal is going viral with a vengeance. It’s been up for less than a day, and already has ten times as many views as the original Times video.

For the most part, he just shares clips from the Times podcast—which are damaging enough—before asking in frustration: “You hear these guys competing for the worst take?” In his words, they come across as “the most pretentious, cork-sniffing smug people”—whose condescension is all the worse because they have “no background in music.”

Rick, I should add, is not just a pundit, but is also a very skilled guitarist, record producer, music educator, etc. He possesses real credentials—the same ones the Times critics lack—and not just opinions.

But did he go too far?

The people watching his video clearly don’t think so. It already has 10,000+ comments—that’s more responses than the original Times article received. And they are brutal.

That first comment has almost 8,000 likes. As I said above, Hades is getting hotter—especially that level of Dante’s Inferno reserved for music critics.

by Ted Gioia, Honest Broker |  Read more:
Images: NYT/YouTube

[ed. No Paul McCartney, Jimmy Webb, James Taylor... but Missy Elliot, Taylor Swift, Young Thug (?!), Babyface, Stephen Merrit, Romeo Santos, Outkast (?!), Lana Del Ray (?!), The Dream (who?), Bad Bunny, other greats...]

Italian Brainrot

Italian brainrot (Wikipedia)

Italian brainrot is characterized by absurd images or videos created using generative artificial intelligence. It typically features hybrid figures combining animals with everyday objects, foods, and weapons. They are given Italianized names or incorporate stereotypical Italian cultural markers and are accompanied by AI-generated audio narration in Italian, which is often nonsensical. The names of these characters often have Italian suffixes, such as -ini or -ello.

The term brain rot was named Oxford Word of the Year in 2024, and refers to the deteriorating effect on one's mental state when overconsuming "trivial or unchallenging content" online. The term can also refer to the content itself. Online users often use this label to acknowledge the ridiculousness of Italian brainrot, while recognising the growing amount of AI slop present online.

Images: DevonRex368; alexey_pigeon

[ed. Presented here for no other reason than to highlight another example of the decline of western civilization. I'm beginning to think that if AI is inclined to wipe us all out it'll be a mercy killing. See also: Reading is magic (Sam Kriss):]

***

"The kids can’t read. I don’t mean that they’re incapable of sounding out letters and forming them into words, although an increasing proportion of them can’t do that either. In the US, literacy peaked around 2014 and has been sliding since. 40% of fourth-graders have ‘below basic’ reading abilities, which means they struggle to extract any meaning from a written text; the number of illiterate students has been rising every year since 2014. But even when students can perform the mechanics of reading, it no longer seems to make their minds start working in textlike ways. It’s an entirely different set of technologies producing their mental processes, and when they come to the written word they come to it from the outside. [...]

Probably the most alarming index of this was a study in which a group of English majors at two well-regarded public universities in Kansas were asked to read the first seven paragraphs of Bleak House by Charles Dickens, and explain after every sentence what they thought was happening. Only 5% of the students could produce a ‘detailed, literal understanding’ of the text. The rest were either patching together vague impressions from a bunch of half-understood phrases, or could not comprehend anything at all.

One particular stumbling block was the novel’s third sentence, which describes London in December: ‘As much mud in the streets, as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill.’ The students found this figurative language impossible; they could only read the sentence with the assumption that Dickens was describing the presence of an actual prehistoric reptile in Victorian London. One respondent glossed it like this: ‘It’s probably some kind of an animal or something or another. So, yup, I think we’ve encountered some kind of an animal these characters have met in the street.’ The study assessed this person as a ‘competent’ rather than a ‘problematic’ reader, because they’d at least managed to form an idea of what the text meant, even if it was wrong.

Bleak House is not an elitist text; not so long ago, it was mass entertainment. When Dickens visited America in 1867, over 100,000 people paid to see him speak. Delighted crowds mobbed him in the streets. Today, a person studying English literature at degree level responds to his work in essentially the same way as an illiterate Uzbek peasant in the 1930s, incapable of thinking outside of immediate sensory reality. [...]

This is not a world we’re prepared for. All democratic politics assume a literate population; people who are willing to think in abstract terms about the kind of world they want to live in. Without that, democracy becomes a kind of tribal headcount, or a struggle for state resources between competing patronage networks... A population that can no longer think for itself will end up voluntarily ceding power to strongmen or demagogues. The end of literacy is the end of public reason. A post-literate world will be unreasonable, irrational, full of anger and madness, and people eating each other in the streets."

What Makes Art Great?

Shakespeare is excellent, whereas AI writing is — at least, for now — dull. AIs can now write much of our code, review legal contracts, and perform various impressive feats; they have achieved gold-medal-level scores at the IMO. But, as of this writing, I am not aware of a truly interesting AI-written poem or even essay. Why?

This breaks down into two questions:

1. What makes texts good?

2. Why is it difficult for AI to do that?

This essay will focus on question 1, and is thus mostly about aesthetics.

1. Surprise

One of the things that so offends us about AI ‘slop’ images is a sense that the details don’t matter. The cup is green, but it may as well have been blue. In good human works, every detail feels carefully chosen. Arbitrarily changing a color in a Hopper painting would make it worse.

You can put this in terms of compression. A cliche illustration of, say, a vase of flowers can just be described as “imagine a New Yorker cartoon of a vase of flowers“. But a really good painting of a vase of flowers can only be captured by seeing the painting itself: nothing else will substitute. Great artworks are hard to compress (i.e. have high information content); slop is easy to compress. When you type a few short sentences into an AI image generator and it makes you an image for your blog post, you are likely generating slop because you are injecting relatively little information yourself. 

Another word for ‘high information’ is ‘surprising’. Thus:

1. Great art is not predictable or obvious, it is surprising.

One can explain this using the predictive processing model of the brain. As we are scanning a text, our brain is constructing the meaning and predicting the next several words. Where there is no surprise — where something is perfectly predictable, or fits some pattern that we know — our brain registers only dullness. When our expectations are violated in a way that’s satisfying to resolve, we get pleasure and novelty. [...]

Compare the famous passage from Macbeth, where both of the bolded words are famously surprising:

Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.

Hence, too, the story of the writing professor who would give his students a copy of the below stanza from Larkin’s The Whitsun Weddings with many words blanked out, and ask them to guess those words, and claimed that nobody had ever gotten ‘hothouse’ or ‘uniquely’:

All afternoon, through the tall heat that slept
For miles inland,
A slow and stopping curve southwards we kept.
Wide farms went by, short-shadowed cattle, and
Canals with floatings of industrial froth;
A hothouse flashed uniquely: hedges dipped
And rose…

The value of surprise is more obvious in visual art. In his four-volume work The Nature of Order, the architect Christopher Alexander gives this example from a Fra Angelico painting:

Alexander asks us to cover up the black stripe on the priest’s robes and the door, and imagine we were the painter:

Imagine some moment before the black of the door and priest’s robe had been painted, but when everything else is more or less already there...You can see what I mean by putting your hand over the picture, so as not to see the black parts. Do you see that the picture loses much of its haunting character...can you see how immensely surprising it is?
— Christopher Alexander, The Nature of Order, Book 4, p. 133

The surprise principle operates in other ways, too. We barely see everyday objects because we are so used to them (low novel information again), but great art can make you see these objects afresh, the way a child might. This too is a kind of surprise, sometimes called defamiliarization. This is a favorite technique of Tolstoy’s, who often takes a normal action that we are all familiar with, and describes it the way an alien might. Thus he describes a person being whipped as “to strip people who have broken the law, to hurl them to the floor...“ and so on, deconstructing the action without ever using the word ‘whipping’. This makes you feel the action much more viscerally than if he had just used the word to summarize it.

These are all familiar points to lovers of art. But the surprise principle operates at even deeper levels, below even our conscious perception. [...]

My main argument in this section has been that surprisingness, or strangeness, operates at many different levels in the art we value: word choice (or color choice), grammar, sentence, plot, form, and so on. This strangeness is essential for the effect of great art, because we like to make sense of things, and if we make sense of things too easily they are not interesting to us; great works of art are therefore necessarily somewhat difficult to grasp the meaning of, their meanings are multiple and constantly shifting, and they require a pleasant kind of effort to make sense of.

To go back to AI, all of this gives us some sense of why LLMs aren’t great writers by default. At the word level, they tend to pick relatively ‘obvious’ choices. Thus, I ask the model currently considered the best AI writer: “write a descriptive paragraph about a day in the park“ and it starts with: “A warm afternoon unfolds in the park, where sunlight filters through the canopy of old oak trees and dapples the ground in shifting patterns of gold and green“. Note that this is the most cliche possible detail to have picked, and the word ‘dapples’ is the most common word to use in this context; in short, the whole thing is unsurprising.

And yet: you cannot fix this problem simply by asking the AI to be more surprising. Why?

2. Echoes

The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end. It is the highest emblem in the cipher of the world. St. Augustine described the nature of God as a circle whose centre was everywhere and its circumference nowhere. We are all our lifetime reading the copious sense of this first of forms…
— Ralph Waldo Emerson, Circles

The most surprising sequence of numbers is a random one, but a random sequence of numbers is not great art. You need more than just surprise. The details of great artworks relate to each other somehow. They are chosen in such a way that they cohere with each other at multiple levels.

Great works are full of patterns. They are as intricately patterned as Persian rugs or Norwegian stave churches. [...]

2. Great art contains multiple overlapping layers of echoes.

This is often harder to spot in verbal artifacts, but it is this feature that I think distinguishes really good works of art from merely ‘ok’ ones.

Most of us are familiar with the surface level ways of doing this: rhyme, for example, knits together different lines of a poem in a semantically irrelevant way that nevertheless makes it feel like part of a unifying whole. Same with assonance and other such effects most of us are familiar with from English class. It is echoes, for example, that make so many verses from the King James Bible so pleasing and beautiful to listen to:

“Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.” (Isaiah 60:1)

Note the echoing vowel sounds throughout in ‘arise’, ‘shine’, ‘light’, and ‘thy’. Rhyme and assonance are verbal echoes.

In music, the most famous example perhaps is Beethoven’s Fifth, with its famous “ba-ba-ba-BUM“ theme; the short-short-short-long statement in the beginning then echoes through that movement in thousands of ways, sometimes stretched, sometimes slowed down, so that the whole movement feels like an organic thing that has grown from that single seed.

Good art layers these, one on top of another, to build up artifacts of stunning complexity. These are the text equivalents of Gothic cathedrals. Each layer alludes to other layers, too, adding more and more constraints, until you get an artifact where changing any one word does violence to the whole.

To see this density in action, let’s look at Shakespeare’s Sonnet 15. Click through the layers to see how a single fourteen-line poem simultaneously participates in half a dozen independent systems of meaning — sonic, structural, thematic, and more.

Shakespeare, Sonnet 15 

When I consider everything that grows
Holds in perfection but a little moment,
That this huge stage presenteth nought but shows
Whereon the stars in secret influence comment;
When I perceive that men as plants increase,
Cheerèd and checked even by the selfsame sky,
Vaunt in their youthful sap, at height decrease,
And wear their brave state out of memory:
Then the conceit of this inconstant stay
Sets you most rich in youth before my sight,
Where wasteful Time debateth with Decay
To change your day of youth to sullied night:
And, all in war with Time for love of you,
As he takes from you, I ingraft you new.

(The interactive version of this essay lets you click through a few layers of the poem and see the below analysis.) [...]

Echoes are sewn through sophisticated literary works in more subtle ways, too.

Thus Nabokov, in his Lectures on Literature, points out that Anna Karenina is filled with trains and railway images even apart from the fact that the main plot points occur at railway stations; Kafka’s Metamorphosis is filled with occurrences of the number three. Lots of movies and books use Christian symbolism this way — crosses, doves, and so on. Macbeth is full of birds (ravens, crows, bats, owls, the Thane of *Caw*dor...).

Sometimes these symbols are significant, as in the Christian symbolism; and sometimes they are insignificant, as in the number three; but either way, the density of these symbols strewn throughout a work give it an additional coherence that would be lacking if you wrote down things at random. It gives it the same type of coherence that you see when you look at a beautiful tree, or a grassy field: things feel right. This feeling of rightness is achieved through these echoes.

by Nabeel S. Qureshi, Substack | Read more:
Image: Fra Angelico

My Journey to the Microwave Alternate Timeline

As we all know, the march of technological progress is best summarized by this meme from Linkedin:

Inventors constantly come up with exciting new inventions, each of them with the potential to change everything forever. But only a fraction of these ever establish themselves as a persistent part of civilization, and the rest vanish from collective consciousness. Before shutting down forever, though, the alternate branches of the tech tree leave some faint traces behind: over-optimistic sci-fi stories, outdated educational cartoons, and, sometimes, some obscure accessories that briefly made it to mass production before being quietly discontinued.

The classical example of an abandoned timeline is the Glorious Atomic Future, as described in the 1957 Disney cartoon Our Friend the Atom. A scientist with a suspiciously German accent explains all the wonderful things nuclear power will bring to our lives:

Sadly, the glorious atomic future somewhat failed to materialize, and, by the early 1960s, the project to rip a second Panama canal by detonating a necklace of nuclear bombs was canceled, because we are ruled by bureaucrats who hate fun and efficiency.

While the Our-Friend-the-Atom timeline remains out of reach from most hobbyists, not all alternate timelines are permanently closed to exploration. There are other timelines that you can explore from the comfort of your home, just by buying a few second-hand items off eBay.

I recently spent a few months in one of these abandoned timelines: the one where the microwave oven replaced the stove.

First, I had to get myself a copy of the world’s saddest book.

Microwave Cooking, for One

Marie T. Smith’s Microwave Cooking for One is an old forgotten book of microwave recipes from the 1980s. In the mid-2010s, it garnered the momentary attention of the Internet as “the world’s saddest cookbook”:

To the modern eye, it seems obvious that microwave cooking can only be about reheating ready-made frozen food. It’s about staring blankly at the buzzing white box, waiting for the four dreadful beeps that give you permission to eat. It’s about consuming lukewarm processed slop on a rickety formica table, with only the crackling of a flickering neon light piercing through the silence.

But this is completely misinterpreting Microwave Cooking for One’s vision. First – the book was published in 1985.

When MCfO was published, microwave cooking was still a new entrant to the world of household electronics. Market researchers were speculating about how the food and packaging industries would adapt their products to the new era and how deep the transformation would go. Many saw the microwave revolution as a material necessity: women were massively entering the workforce, and soon nobody would have much time to spend behind a stove. In 1985, the microwave future looked inevitable.

Second – Marie T. Smith is a microwave maximalist. She spent ten years putting every comestible object in the microwave to see what happens. Look at the items on the book cover – some are obviously impossible to prepare with a microwave, right? Well, that’s where you’re wrong. Marie T. Smith figured out a way to prepare absolutely everything. If you are a disciple of her philosophy, you shouldn’t even own a stove. Smith herself hasn’t owned one since the early 1970s. As she explains in the cookbook’s introduction, Smith believed the microwave would ultimately replace stove-top cooking, the same way stove-top cooking had replaced campfire-top cooking.

So, my goal is twofold: first, I want to know if there’s any merit to all of these forgotten microwaving techniques. Something that can make plasma out of grapes, set your house on fire and bring frozen hamsters back to life cannot be fundamentally bad. But also, I want to get a glimpse of what the world looks like in the uchronia where Marie T. Smith won and Big Teflon lost. Why did we drift apart from this timeline?

by Malmsbury, Telescopic Turnip |  Read more:

Images: Microwave Cooking For One/YouTube/uncredited

Karl Ove Knausgaard’s Diabolic Realism

If you made it through the 3,600 pages of Karl Ove Knausgaard’s My Struggle (Min kamp, in the Norwegian), its conclusion could only inspire mixed feelings. Book Six — also known as “the Hitler one” due to its three hundred pages on the life of the dictator whose manifesto gave Knausgaard his title — records the precise moment (7:07 a.m., on September 2, 2011) that Karl Ove brought it to a close. “The novel is finally finished,” he writes. “In two hours Linda will be coming here, I will hug her and tell her I’ve finished, and I will never do anything like this to her and our children again.” They will go to a literature festival, where he will endure an interview and then his wife will, too, since her own book has just come out. “Afterwards we will catch the train to Malmö, where we will get in the car and drive back to our house, and the whole way I will revel in, truly revel in, the thought that I am no longer a writer.”

Beyond the physical relief of putting down the carpal-tunnel-inducing final tome (1,157 pages in all), you might have sighed with despair at the thought of post-Struggle existence. After all, you’d spent countless hours swimming through Karl Ove’s mind, seeing through his eyes as he smoked, chugged coffee, “trudged” through various forms of bad weather, tried to write and then wrote and wrote and wrote, took care of his children, felt ashamed of taking care of his children, painfully recalled his father’s drunken misbehavior and his own, fretted over his sexual imperfections and moral indiscretions, agonized about his overwhelming shyness but also his glaring narcissism, stared at himself in various reflections, and, on two occasions, sliced up his face with broken glass. How will I fill my time, you might have wondered, if not by reading Knausgaard? And if he was renouncing the vocation he struggled so hard to claim, what had it all been for?

But of course Knausgaard didn’t stop writing. In fact, just the opposite. My Struggle was released in Norway between 2009 and 2011; by the time the final installment of this Viking longship of a novel invaded the English-speaking world, in 2018, Knausgaard had already published five more books in his native country... 

Now the cycle continues with The School of Night (2023/2026), a bildungsroman about a young Norwegian photographer and the Faustian bargain that catapults him to artistic greatness. So far, we’re at 2,512 pages and counting. Two more tomes have already been published in Norway; Knausgaard told a Norwegian newspaper that the seventh will be the last, because, incredibly, “there is so much else I want to write.”

An attentive Struggler will identify bits and pieces that Knausgaard recycles in these novels: the aphrodisiac qualities of prawns, or a grandfather’s antisemitic quip, or the frequent appearance of hospitals and mental institutions. There is typically Knausgaardian attention paid to the precise color of piss (sometimes, like Knausgaard’s father’s, disturbingly dark) and the unevenly shared burdens of domestic life; much Pepsi Max is slurped, significant time is spent brooding on verandas, and the destructive desire for just one more drink is often satisfied. Narrators resemble Karl Ove at various points in My Struggle, like the alcoholic literature professor and aspiring novelist whose mentally unstable wife is hospitalized, as Linda was in Book Two; The School of Night’s young artist maps onto student Karl Ove in Book Five.

Yet the Star series is in many ways My Struggle’s opposite. Rather than the unrelenting voice of one man, we get an array of perspectives, and some of the most compelling characters are women. Whereas My Struggle somehow keeps you engaged despite its apparent formlessness, with little plot beyond the shaggy shape of an actual life, the Star series is structured around a series of more or less suspenseful mysteries. But the most obvious difference is the weirdness. While Knausgaard continues to beguile us with his trademark hyperrealist style, predictably observant down to the coffee granules dissolving inside a mug, what happens in these new novels transcends the real. One of the narrators — Egil, a trust-funded documentarian turned religious searcher who composes an essay on death that constitutes the last fifty or so pages of The Morning Star — helpfully informs us that the titular phrase is not just a literal translation of Lucifer, the name of the fallen angel who rebels against God, but also one of the ways Jesus describes himself. And the dark corners of these novels are illuminated by a gleam equal parts demonic and divine: hordes of crabs scuttle their way inland, a Sasquatch-like beast emerges from the woods and seemingly possesses an escaped mental patient, dreams start changing, dead bodies stop arriving at mortuaries, and people who should be dead seem somehow to keep living.

The struggle of My Struggle is, at heart, about what to believe in the face of death when religion is not an option, ideology has failed, and there’s nothing more than the life you’ve got. “Attaching meaning to the world is peculiar only to man,” Knausgaard writes in Book Six. “We are the givers of meaning, and this is not only our own responsibility but also our obligation.” Knausgaard sought a form that would not just describe but enact the process by which meaning is made in secular life. But in the Star books, secular lives — and seemingly mortality itself — are disrupted by the new star; characters and readers alike wonder whether it’s a sign to be interpreted or simply a phenomenon to be explained. Knausgaard widens his frame to encompass not just the banal and everyday, but the cosmic. He tries, in other words, to reenchant the secular world, and the secular novel, dramatizing a search for meaning beyond the self and beyond realism. But like his characters, we’re left wondering what it all means.

by Max Norman, The Drift |  Read more:

Image: Maki Yamaguchi

[ed. Like with Proust... two books and I'm good.]

The Secret History of Wakanda

The history of Wakanda is not, of course, an African history; it’s a history of Europe, and of Europe’s fantasies about Africa.

This hidden kingdom is first attested in Book V, Chapter VIII of Pliny the Elder’s Natural History, on the ‘countries on the other side of Africa.’ As Pliny ventures further from the known world of the Mediterranean, and into the depths of Africa, the peoples he describes are drawn with a lighter and lighter brush. He can’t quite say what these people are, but only what they lack. Nightmares live here, in the hot voids of the world: [...]

But then, after this list of fantastic degenerations, we meet something different. Pliny describes a kind of African Utopia:

At the centre of the region of Æthiopia we may find the source of the Nile, guarded by a kingdom called Vicindaria, so called for its many conquests. The Vicindariæ are ruled by their philosophers; and if Pelagon of Rhodes is to be believed their libraries contain all that can be known in the useful crafts. Among their marvels are flying chariots, drawn by certain spinning serpents; fine silks that protect the body like armour; trees bearing glowing fruit with which they light their houses; and great towers made of brass and iron. Their cities are arranged in circles, like those of the Etruscans; at the centre of each stands a library which is also a temple to their God and his son. In all their affairs they are orderly and virtuous; solemn are their laws and just are their judges, and all men live in amity with one another. The Vicindariæ are the ancestors of the the Egyptians and the Numidians, and by some accounts, the fathers of all men. But Pelagon says that they have withdrawn from their troublesome children, have no intercourse with the peoples of the world, and no longer set off on voyages over the oceans or to the Moon; preferring to perfect their knowledge in seclusion, their kingdom can not be found by foreigners.

Where did this idea come from? And how did Pliny appear to describe helicopters, skyscrapers, and the electric lightbulb? Pelagon of Rhodes was a Greek geographer of the second century BC; frustratingly, one of our only surviving sources for his works is Pliny himself. Maybe the story stretches back further; maybe the Greeks had nursed this legend of a distant, magical kingdom for centuries. It’s been suggested that the army of Memmon in Arctinus Milesius’ lost Aethiopis might have some relation to the myth; so too might the Homeric gods’ repeated habit of flying off to visit Ethiopia. We will probably never know.

We do know that in Pliny’s time, Vicindaria was widely believed to be real. Sixteen years before the Natural History was published, the emperor Nero sent a praetorian expedition down the White Nile, to find its source and establish relations between Rome and Vicindaria, for future trade and possible conquest. Seneca, as Nero’s tutor, had commissioned the voyage, and he reports its findings in his Natural Questions:

There we found not towers of bronze or wondrous libraries, but only marshes, the limit of which even the natives did not know, and no one else could hope to know, so completely was the river entangled with vegetable growth, so impassable the waters by foot, or even by boat, since the muddy overgrown marsh would bear only a small boat containing one person.

Nero’s expedition may have reached present-day Uganda: the furthest Roman legions ever travelled into equatorial Africa. Europeans made no further efforts to contact the hidden kingdom of Vicindaria for another thousand years.

This is not to say that the story was forgotten. Pliny’s account was reproduced in the Etymologies of Isidore of Seville; among early medieval writers the most significant part of the narrative was the reference to ‘their God and his son.’ Centuries before Christ, these people were Christian. In 687 AD, the heresiarch Caelestius of Aquitaine was burned for insisting that Christ had been born twice, once to the Vicindariae and once to the rest of the world, but that the Vicindariae, being wise, had not killed him. Small communities of Caelestians survived in the Pyrenees for another two hundred years, claiming to follow a purer, African version of Christianity, in which redemption can be achieved without blood. (They rejected the name Caelestians, and preferred to call themselves the ‘Good Whites’ instead.)

by Sam Kriss, Numb at the Lodge |  Read more:

Image: uncredited

The Murderer

via:

via:

[ed. Tehran]

Tragedy and the Common Man

In this age few tragedies are written. It has often been held that the lack is due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science, and the heroic attack on life cannot feed on an attitude of reserve and circumspection. For one reason or another, we are often held to be below tragedy-or tragedy above us. The inevitable conclusion is, of course, that the tragic mode is archaic, fit only for the very highly placed, the kings or the kingly, and where this admission is not made in so many words it is most often implied.

I believe that the common man is as apt a subject for tragedy in its highest sense as kings were. On the face of it this ought to be obvious in the light of modern psychiatry, which bases its analysis upon classific formulations, such as Oedipus and Orestes complexes, for instances, which were enacted by royal beings, but which apply to everyone in similar emotional situations.

More simply, when the question of tragedy in art is not at issue, we never hesitate to attribute to the well-placed and the exalted the very same mental processes as the lowly. And finally, if the exaltation of tragic action were truly a property of the high-bred character alone, it is inconceivable that the mass of mankind should cherish tragedy above all other forms, let alone be capable of understanding it.

As a general rule, to which there may be exceptions unknown to me, I think the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing-his sense of personal dignity. From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his "rightful" position in his society.

Sometimes he is one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity and its dominant force is indignation. Tragedy, then, is the consequence of a man's total compulsion to evaluate himself justly.

In the sense of having been initiated by the hero himself, the tale always reveals what has been called his "tragic flaw," a failing that is not peculiar to grand or elevated characters. Nor is it necessarily a weakness. The flaw, or crack in the characters, is really nothing - and need be nothing, but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lot without active retaliation, are "flawless." Most of us are in that category.

But there are among us today, as there always have been, those who act against the scheme of things that degrades them, and in the process of action everything we have accepted out of fear of insensitivity or ignorance is shaken before us and examined, and from this total onslaught by an individual against the seemingly stable cosmos surrounding us - from this total examination of the "unchangeable" environment-comes the terror and the fear that is classically associated with tragedy. More important, from this total questioning of what has previously been unquestioned, we learn. And such a process is not beyond the common man. In revolutions around the world, these past thirty years, he has demonstrated again and again this inner dynamic of all tragedy. [...]

The quality in such plays that does shake us, however, derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what and who we are in this world. Among us today this fear is strong, and perhaps stronger, than it ever was. In fact, it is the common man who knows this fear best.

Now, if it is true that tragedy is the consequence of a man's total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment. And this is precisely the morality of tragedy and its lesson. The discovery of the moral law, which is what the enlightenment of tragedy consists of, is not the discovery of some abstract or metaphysical quantity.

The tragic right is a condition of life, a condition in which the human personality is able to flower and realize itself. The wrong is the condition which suppresses man, perverts the flowing out of his love and creative instinct. Tragedy enlightens - and it must, in that it points the heroic finger at the enemy of man's freedom. The thrust for freedom is the quality in tragedy which exalts. The revolutionary questioning of the stable environment is what terrifies. In no way is the common man debarred from such thoughts or such actions.

Seen in this light, our lack of tragedy may be partially accounted for by the turn which modern literature has taken toward the purely psychiatric view of life, or the purely sociological. If all our miseries, our indignities, are born and bred within our minds, then all action, let alone the heroic action, is obviously impossible.

And if society alone is responsible for the cramping of our lives, then the protagonist must needs be so pure and faultless as to force us to deny his validity as a character. From neither of these views can tragedy derive, simply because neither represents a balanced concept of life. Above all else, tragedy requires the finest appreciation by the writer of cause and effect.

No tragedy can therefore come about when its author fears to question absolutely everything, when he regards any institution, habit or custom as being either everlasting, immutable or inevitable. In the tragic view the need of man to wholly realize himself is the only fixed star, and whatever it is that hedges his nature and lowers it is ripe for attack and examination. Which is not to say that tragedy must preach revolution.

The Greeks could probe the very heavenly origin of their ways and return to confirm the rightness of laws. And Job could face God in anger, demanding his right and end in submission. But for a moment everything is in suspension, nothing is accepted, and in this sketching and tearing apart of the cosmos, in the very action of so doing, the character gains "size," the tragic stature which is spuriously attached to the royal or the high born in our minds. The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in the world.

There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.

For, if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality, and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity.

The possibility of victory must be there in tragedy. Where pathos rules, where pathos is finally derived, a character has fought a battle he could not possibly have won. The pathetic is achieved when the protagonist is, by virtue of his witlessness, his insensitivity, or the very air he gives off, incapable of grappling with a much superior force.

Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief-optimistic, if you will, in the perfectibility of man.

It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time - the heart and spirit of the average man.

by Arthur Miller, NY Times |  Read more:

Image: Laurie Metcalf and Nathan Lane in “Death of a Salesman”. Sara Krulwich/The New York Times

[ed. See also: A Cold, Perfect ‘Death of a Salesman’ for Our Time (NY Times).]

Accepting Wallace

David Foster Wallace was a genius, now let me convince you to read him.

It was a dark day for literature when David Foster Wallace took his life in 2008, at the age of 46. Wallace was hands-down the most talented American writer of his generation. Arguably he was one of the most striking and original prose stylists of the past century. And yet he’s never really been a household name, unless you live in an unusually highbrow household. He had enormous gifts, but an equally enormous propensity to get in his own way. Maybe that’s why America’s Wallace industry has been busier since his death than it was during his life. The man himself is no longer around to impose his artistic standards, which were both fanatically strict and strangely self-sabotaging.

In his lifetime Wallace published two novels, three story collections, and two volumes of non-fiction, along with sundry minor works. Since his death, his oeuvre has gone on growing. In 2009, his publishers had a hit with This is Water, a jazzed-up version of a commencement address Wallace delivered in 2005. The Pale King, the big unfinished novel he was working on at the time of his death, was published in 2011. A volume of previously uncollected essays appeared in 2012. So did D. T. Max’s biography, Every Love Story is a Ghost Story. In 2015 Jason Segel played Wallace in the movie The End of the Tour.

The latest addition to the Wallace canon is a hundred-page novella called Something to Do with Paying Attention. Actually, the text of the book isn’t new. Readers who made it past the middle of The Pale King – admittedly not a large cohort – will find they’ve read this novella before. It first appeared as The Pale King’s 22nd chapter, in the form of a memoir composed by one of that novel’s countless narrators.

Now it’s been re-issued as a stand-alone book, in a bid to solve a perennial Wallace problem: that of providing newcomers with a way into his work. “For someone who has never read Wallace,” the book’s publisher, Sarah McNally, writes in her preface, “this little book … is a perfect place to start.”

I’m not sure McNally is right about that. Removed from the bustling context of The Pale King, the story feels like an uncharacteristically minor-key performance. Newbies who start here are liable to wonder what all the fuss is about.

Still, McNally is right to feel that Wallace’s reputation is due for a booster shot. This is doubly true in Australia, where Wallace is criminally under-appreciated. His books have never sold well here, and this new one doesn’t even have an Aussie distributor.

If this novella isn’t the perfect introduction to Wallace, then what is? The awkward fact, which McNally hints at but doesn’t dare to mention aloud, is that Wallace never produced a wholly satisfactory book. Unfortunately, he wasn’t his own best critic or curator. He had a maddening tendency to barricade his gorgeous prose behind needless entanglements of textual barbed wire.

This has always presented his fans with a challenge. If you love his stuff – as I do – then how do you spread the word about it? Even his best books can’t be recommended without a caveat or two: read this bit, but don’t hesitate to skip or skim that one.

What makes the Wallace problem so vexing is that his best stuff really was incredibly good. When he was on song, Wallace produced sentences that made his most gifted contemporaries feel like quitting on the spot.

Here he is covering a tennis match between Pete Sampras and Mark Philippoussis. “Sampras, poor-postured and chestless, smiling shyly at the ground, his powder-blue shorts swimming down around his knees, looks a little like a kid wearing his father’s clothes.”

How’s that for a word-picture? And how’s this for a cruel but fair evocation of The Poo? “The malevolent but cyborgian Philippoussis hasn’t betrayed anything like an actual facial expression yet.” Between points he likes to “dance a little in place – perhaps to remind himself that he can indeed move if he needs to.”

Wallace’s journalism showcased his superb ability to register the world in front of his eyes. In the best passages of his fiction, he did something even trickier. In the same deft style, he registered the world inside his head. He could catch a thought in flight. Here’s one of the narrators of The Pale King, sitting on an infernally hot bus:

The sun began shortly to broil the bus’s rear and port side. The air-conditioning was more like a vague gesture toward the abstract idea of air-conditioning. There was a horrific piece of graffiti incised with knife or leather punch in the plastic of the seatback in front of me, which I looked at twice and then made a point of never looking directly at again. The bus had a lavatory in the wayback rear, which no one ever made any attempt to use, and I remember consciously deciding to trust that the passengers had good reason for not using it instead of venturing in and discovering that reason for myself.

Notice how the sentence about the feeble air-conditioning can hardly be bothered being a proper sentence. Wallace’s very syntax feels heat-affected. And notice how the narrator doesn’t just not look at the graffito again. He makes a point of not looking at it again. This is how thought moves, and Wallace had a supreme ability to follow its twists and turns in language.

The word genius isn’t out of place for Wallace. He could go on like this for page after page, spraying out jaw-dropping sentences seemingly at will. His intelligence was vast, and his writing let you all the way into it. His verbal talent was on a par with James Joyce’s. But he was a Joyce for our time. His best prose was slangy, hyper-modern, tech-savvy, and laugh-out-loud funny.

Alas, Wallace had something else in common with Joyce. Maybe because he could produce breathtaking prose without really trying, he also felt a restless urge to overegg the pudding, by conducting formal experiments that seemed positively designed to shut readers out. “Just how much reader-annoyance are you shooting for here exactly?” said his sister Amy, when vetting one of Wallace’s manuscripts. This is the lingering question about Wallace. What was the deal with the reader-annoyance?

One answer is that he lacked discipline. The guy just didn’t know how to stop himself. His best-known novel, Infinite Jest, was 1100 pages long, and included a hundred pages of minutely printed endnotes. As Max reveals in his biography, the novel’s draft was 600 pages longer. Wallace’s editor had to fight him tooth and nail to reduce the book to the width of a mere housebrick.

Wallace’s running battles with editors are a motif of Max’s biography. When commissioned to write magazine articles, Wallace routinely handed in unfeasibly massive, manically brilliant drafts that were as long as small books, and riddled with post-modern interpolations (subheadings, upside-down text, footnotes, footnotes to footnotes).

“The biggest challenge to editing Dave’s non-fiction,” said one of his editors, “was in striking a balance between the magazine’s needs and his instinctual impulse to not give a f--- about the magazine’s needs.” [...]

Wallace was a complicated man whose life was darkened by the shadows of depression and addiction. His friend and fellow novelist Jonathan Franzen called him “a lifelong prisoner on the island of himself”. Writing fiction, Franzen said, “was his way off the island”, his way of connecting with others.

But after years of wrestling with The Pale King, Wallace became desperately blocked – “bored with his old tricks”, as Franzen put it, “and unable to muster enough excitement about his new novel to find a way forward with it”. Far from getting him off the island, his convoluted final book left him comprehensively marooned.

While Wallace was alive, one barracked for him to produce the masterpiece that would do full justice to his talents. Now that he’s gone, we must make do with his existing works and reconcile ourselves to the fact that his excesses were part of his essence. Without the reader-annoyance, Wallace wouldn’t be Wallace.

by David Free, Sydney Morning Herald |  Read more:

Image: Alarmy

[ed. A bit dated but still relevant (ie. high annoyance factor but well worth it). As for a good starting point:]

***

"As for the best place to start, I think the answer lies in his non-fiction. Try his scintillating essay about a bad luxury cruise, A Supposedly Fun Thing I’ll Never Do Again, which appears in the collection of the same name. If that doesn’t make you fall in love with Wallace, nothing will."

[ed. More here: 25 Great Articles and Essays by David Foster Wallace (Electric Typwriter). Like this one: F/X Porn (about Terminator movies).]