Poet Tessara Dudley speaks of vulnerability, the burden of being "not"--"we will know every word we speak is true/we will know every word counts for nothing."
The interviewer doesn't exaggerate in ranking W.E.B Du Bois as the 20th century's pre-eminent African-American author and thinker, crediting his founding and stewardship of the NAACP's The Crisis with granting him not just an agenda-setting role in civil-rights history but also international influence. Before going into detail with the biographer, he also praises Mullen for a work that is a timely introduction to this impressive and somewhat imposing figure.
In the 1970s a group of African American experimental jazz improvisors organized musician-sponsored concerts in a network of lower Manhattan lofts. The music they produced was not only sonically adventurous, much of it was also driven by a host of social concerns. Michael Heller has published a new history of this movement. Michael J. Agovino helps guide us through this important cultural moment.
It feels perfectly appropriate that in 2016, a mortifying examination of one man’s ego played a role in the election of America’s next president. Weiner is a depressing pile-up of the year’s governing impulses: the media’s veneration of scandal, the increasing shamelessness of the country’s politicians, and Weiner’s quiet, ashamed delight in his own continued relevance.
Interview with behavioral scientist Dr. Brian Wansink, author of Mindless Eating (2006) and Slim by Design (2014) and founder of the Food and Brand Lab at Cornell University. The Food and Brand Lab was started in 1997 at the University of Illinois (before moving to Cornell in 2005), to explore how humans relate to food with the end goal of uncovering solutions to improve eating environments and help individuals eat better. Wansink analyzes why we eat what we eat.
New Year's coming, a moment for memories, and a gift seldom appreciated until a person has lost the ability. Poet Jennifer L. Knox's Auld Lang Syne points to a sad irony.
At first glance, modern art and contemporary imperialism make strange bedfellows. The book under review both charts the history of the CIA's work in promoting US corporate interests through its manipulation of culture--what was then called cultural diplomacy-- while also working to define modernism. The reviewer congratulates the author on his first task, but criticizes him on the second.
For those of us who need a reminder of the notorious record of the CIA over the last sixty-plus years, here is a useful up-to-date history. Reviewer Paul Buhle shows some of this new book's high points.
Spread the word