Month: November 2017
Big Money Rules | by Diane Ravitch | The New York Review of Books
How One Translator Brought Quebec’s Greatest Authors to English Canada · The Walrus
Jean Rouch’s Inspiring Metafictions | The New Yorker
Jaron Lanier Q&A: VR Visionary and Author of ‘Dawn of the New Everything’ | WIRED
The Instagrammable Charm of the Bourgeoisie | Boston Review
The New Folk Horror: Recent Work by Sarah Hall, Conor O’Callaghan, and Malcolm Devlin – Los Angeles Review of Books
Of all the speculative genres, horror is particularly obsessed with place. Those who argue for science fiction as the most overtly political form of the fantastic often point to horror’s putative conservatism, its preference for isolated settings — old houses, bleak moorland, remote villages, that dodgy patch of wasteland on the edge of town — and its seeming indifference to the wider world. Yet one can also see horror’s obsession with place as, by extension, an obsession with history, with the past as it meets the present and offers warnings about the future. In this regard, horror is the most subversively political of literatures, mired in causality up to its armpits.