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A weekly email taking aim at the relentless absurdity of the 24-hour news cycle.
Daddy Sam Don’t Care, a painting by Alex Gardner, whose work is on view through May 1 at the Long Beach Museum of Art, in California.
© The artist. Courtesy The Hole and Fundación MEDIANOCHE0.
© The artist/Chose Commune
When Things Feel Apart, a painting by Jules de Balincourt, whose work is on view through April 28 at Pace Gallery, in Hong Kong.
© The artist. Courtesy Pace Gallery
“Falcon (wings),” 2022, duratrans on lightbox (60 13/16 x 49 5/16 inches), by Awol Erizku, whose work is on view through April 16 at Gagosian, in New York City.
© The artist. Photo: Rob McKeever. Courtesy Gagosian
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That year, the year of the Ghost Ship fire, I lived in a shack. I’d found the place just as September’s Indian summer was giving way to a wet October. There was no plumbing or running water to wash my hands or brush my teeth before sleep. Electricity came from an extension cord that snaked through a yard of coyote mint and monkey flower and up into a hole I’d drilled in my floorboards. The structure was smaller than a cell at San Quentin—a tiny house or a huge coffin, depending on how you looked at it—four by eight and ten feet tall, so cramped it fit little but a mattress, my suit jackets and ties, a space heater, some novels, and the mason jar I peed in.
Read MoreTimeless stories from our 171-year archive handpicked to speak to the news of the day.