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SPIEGEL: Why do we waste so much time trying to complete things that can’t be realistically completed?
ECO: We have a limit, a very discouraging, humiliating limit: death. That’s why we like all the things that we assume have no limits and, therefore, no end. It’s a way of escaping thoughts about death. We like lists because we don’t want to die.
Dr. Rines’s passion about the Loch Ness monster was kindled in 1972 when he was in Scotland on his honeymoon with the former Carol Williamson, his second wife. They were enjoying tea with a friend whose home overlooked the loch. Their host remarked, “I say, is that an upturned boat?” What they saw was a big, grayish hump with the texture of an elephant’s skin. It rose four feet out of the water and seemed to be about 30 feet long. They stared at it for 10 minutes. “I don’t care what anybody thinks, you have to find out what that was,” Mrs. Rines said. The obsession had begun. –“Robert Rines, Inventor and Monster Hunter, Dies at 87,” Douglas Martin, The New York Times
“Jobs! Jobs! Jobs!”; the government is lying about creating them, unemployment is up to 17.5 percent by some measures (worse than Europe as a whole and catching up to Spain), and the “jobless recovery” isn’t a recovery for the jobless; FOX says it’s all Obama’s fault, while others propose… socialism; maybe the unemployed should pull themselves up and just sell apples on the street–but no, China is killing the U.S. in the apple trade
TEACHER: Let’s start analyzing the text, everybody pay attention. Who’s going to read the first part? Everyone else pay attention and conclude what the theme of this segment is.
TEACHER: Here, everyone focus on this sentence. It is a metaphor. Is this a direct or indirect metaphor? Why does the author use it?
STUDENTS: (N number of people start to sleep)
The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.
Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:
Kentucky is the saddest state.
An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”