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Should critics, especially those who write about relatively marginalized areas of culture, simply ignore work they don’t like? Should they treat it harshly? Or is there some third path between these two? Is a critic primarily a consumer reporter, telling her reader whether to go out and buy a book or a ticket to the show? Or is the critic’s first job to engage with the work at hand in an honest way, even if that means dismissing work that otherwise would go unnoticed?
On Monday, February 4, at 6:30 p.m., please join Harper’s Magazine associate editor Christopher Beha, who will be moderating a panel featuring critics Daniel Mendelsohn, Laura Miller, Troy Patterson, and Jacob Silverman, sponsored by the New School’s School of Writing.
Location: Theresa Lang Community and Student Center, Arnhold Hall, 55 West 13th Street, 2nd floor (map)
Admission: Free; no tickets or reservations required; seating is first-come, first-served
More from Harper’s Magazine:
Official Business — January 8, 2015, 3:57 pm
We defend Charlie Hebdo’s right to publish its cartoons—and our right to critique them.
Mentions — July 16, 2014, 7:00 pm
Watch Jessica Bruder on MSNBC’s The Cycle
Number of U.S. congressional districts in which trade with China has produced more jobs than it has cost:
Young bilingual children who learned one language first are likelier than monolingual children and bilingual children who learned languages simultaneously to say that a dog adopted by owls will hoot.
An Oklahoma legislative committee voted to defund Advanced Placement U.S. History courses, accusing the curriculum of portraying the United States as “a nation of oppressors and exploiters.”
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“He could be one of a million beach-bound, black-socked Florida retirees, not the man who, by some odd happenstance of life, possesses the brain of Albert Einstein — literally cut it out of the dead scientist's head.”