Links

Links — March 24, 2011, 3:52 pm

Links

Trailer for the film Jean-Michel Basquiat: The Radiant Child, by Tamra Davis, screening on PBS’ Independent Lens on April 16. See John Berger’s essay on Basquiat in the April 2011 issue of Harper’s Magazine, out now. In memory of Elizabeth Taylor, a weird old Harper’s story about her; The Wire seen through Victorian eyes; carbon dioxide is ruining everything; on losing a dog The 44-year-old ex-heavyweight champion is in bed by 8 and often up as early as 2 in the morning, at which point he takes a solitary walk around the gated compound in the Las Vegas suburb where …

Links — March 3, 2011, 1:08 pm

Links

By the time I come aboard in late September, Tara has been drifting for one year. The sun makes a complete revolution around us each day, while slowly spiraling downward. The crew has been using the ship’s bulletin board to keep time, posting the sun table and the weekly weather forecasts, conjecturing how far the ship will drift in the coming week. On October 4 the sun sinks below the horizon, and a season of perpetual twilight begins. The transition is like walking around with your eyes half closed. You get sleepier and sleepier; your eyelids drop another millimeter each …

Links — February 16, 2011, 2:29 pm

Links

The strange thing about this is that at twenty I imagined I would spend my middle age reading books that I didn’t have the patience to read when I was young. But now, at forty-one, I don’t even have the patience to read the books I read when I was twenty. At that age I plowed through everything in the Arnoldian belief that each volume somehow nudged me imperceptibly closer to the sweetness and light. I read War and Peace, Anna Karenina, Ulysses, Moby-Dick. I got through The Idiot even though I hated practically every page of it. I didn’t …

Links — January 20, 2011, 1:57 pm

Links

Another policewoman points out the entrance to Pavilion B, housing the Shining Path inmates. I’m signed in a third time, and am being escorted up a staircase when a figure darts forward. Trout-brown eyes, long dark hair parted in the middle, and a muslin scarf draped over her shoulders, embroidered with small flowers. Her face is thinner, more striking than in photographs. She wears loose black trousers and blue high-heeled shoes. “Maritza?” She nods, smiles. Instinctively, I embrace her. –“The Dancer and the Terrorist,” Nicholas Shakespeare, Intelligent Life McGovern recalls Sarge’s gift; how to make a disaster-proof home in Haiti; …

Links — December 19, 2010, 11:11 pm

Links

There’s a peculiar comfort in imagining the companionship of great composers, for it is among them that a child prodigy is at home. Mozart rules the hopeful parent: homeschooled, composing harpsichord minuets at the age of five, playing the Viennese court at six, visiting Johann Christian Bach in London at age eight. He was one of the earliest celebrated child performers, and like Barbara, he was born to the profession—his father was a violin master. Then again, in some arts, there is almost an inevitability to the appearance of prodigies. Pablo Picasso’s charming Bullfight and Pigeons—drawn in 1890, when he …

Links — December 14, 2010, 9:44 am

Links

It is hard today to convey the significance and implications of the timetable, which first appeared in the early 1840s: for the organization of the railways themselves, of course, but also for the daily lives of everyone else. The pre-modern world was space-bound; its modern successor, time-bound. The transition took place in the middle decades of the nineteenth century and with remarkable speed, accompanied by the ubiquitous station clock: on prominent, specially constructed towers at all major stations, inside every station booking hall, on platforms, and (in the pocket form) in the possession of railway employees. Everything that came after—the …

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Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

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.

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"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
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He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
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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.

Illustration (detail) by Jen Renninger
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With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
Still from The People vs. OJ Simpson: American Crime Story © FX Networks

Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

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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