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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 — March 17, 2015, 4:01 am
Listen to the broadcast version of “American Hustle,” Alexandra Starr’s story, for the April 2015 issue of Harper’s Magazine, about how elite youth basketball exploits African athletes.
Official Business — January 8, 2015, 3:57 pm
We defend Charlie Hebdo’s right to publish its cartoons—and our right to critique them.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”