Photo: SRO fire escape. SoMa, SF, 2010.
Today’s post is a photo essay on San Francisco by Rian Dundon, originally published by LARB Channel Boom.
By Rian Dundon
Editor’s note: We asked photographer Rian Dundon to put a face on the displacement that is roiling San Francisco. His photo essay focuses on the city, but also on surrounding areas like Oakland, San Jose, and even Santa Cruz because, as he noted: these issues spill out. “Especially if you’re talking about inequality, geographically, you have to look at if people are being kicked out of San Francisco, where are they ending up?” He told us that he approached the assignment not as a journalist but from “a more ambiguous space in photography—to find the power of what can be suggested more than literally described.” Continue reading
Laurie Winer, Senior Fiction editor, blogs about a LARB exclusive online today: Ron Rosenbaum’s new Afterword to an updated edition of his brilliant 1998 opus, Explaining Hitler.
By Laurie Winer
Of the billions of words written about the Holocaust, some of them brilliant and harrowing, others of them idiotic and harrowing, nothing reaches (or indeed tries to reach) the exuberance of Mel Brooks’s 1968 film The Producers, a comedy cri de coeur that says, essentially, this: We’re alive and you’re dead, and we’re laughing at you. Continue reading
This week’s China Blog post was originally published on The Anthill, a “writers colony” focused on writings about China, edited by Alec Ash.
By Alec Ash
The Anthill occasionally loans its soul to the devil and does listicles. So far we’ve done China books and China blogs. Now we turn our eye to that richest of terrains – bad articles about China – in the form of a top ten hall of infamy. Continue reading
This piece was originally published today, July 8, by LARB Channel Avidly.
By Alizah Salario
At The Morbid Anatomy Museum in Brooklyn, the dead fill every nook and cranny. “Art of Mourning,” the current exhibit, features celluloid medallions and Victorian-era memorial photographs depicting the waxy, masklike faces of the dead. In “Sleeping Beauty” photos, deceased little girls and boys are cradled in open caskets or propped up in rocking chairs, as still and flawless as porcelain dolls. There are intricate wreaths woven from the hair of the dead in commemoration. What if modern mourners were to knot friendship bracelets from dear dead Bubbe’s blue-grey locks, or use a selfie with her on her deathbed as their Smartphone wallpaper? Just imagine. At best they’d be stigmatized as morbid; more likely perverse or pathological. Death, as we know it today, often happens behind closed doors, hooked to machines, in solitude and silence. Even if there was time to grab a lock of hair or snap a photo, the public display of keepsakes of the dead are today usually considered distasteful or maudlin. Continue reading
This interview is from LARB Channel Marginalia, and is number 13 in their ongoing radio series.
Art Remillard talks with Randall Balmer about his new book, Redeemer: The Life of Jimmy Carter. Balmer is the Mandel Family Professor in the Arts and Sciences at Dartmouth College, and author of more than a dozen books, including Mine Eyes Have Seen the Glory: A Journey into the Evangelical Subculture in America.
By Paul French
If you want to understand a country’s national obsessions and public concerns, watch their TV crime dramas. Cop shows, at least those with contemporary settings, reveal what the folks at home are worried about: they draw on popular tabloid stories and reveal the state of the nation’s concerns. This televisual truism is slightly skewed in China, however, where cop shows, censored and sanitized as they are, usually show what CCTV (the state-controlled broadcaster) thinks people should be worried about — invariably anything that threatens “social harmony.” In Chinese cop shows, the bad guys are usually either foreigners (often overseas Chinese from elsewhere), minorities (Uighurs from Xinjiang, mostly), or people with (unfounded, of course!) grudges against the Party. Chinese TV cops are clean-living, invariably uniformed, polite, and care only for the peoples’ welfare. Still, I can’t help wondering: What would a Chinese cop show be like if the censors took a holiday? Continue reading
Photo: Janet Delaney, Roof Terrace One Hawthorne 645 Howard Street, 2013.
This piece was originally published by LARB Channel Boom, in their Summer 2014 issue.
By Leah Reich
When I tell pretty much anyone outside the tech industry I work at a start-up, there’s usually a pause. I can watch her compose her face, waiting to hear the worst. If I’m lucky, I’ll field questions about foie gras burgers, daily massages, or what it’s like to work with a bunch of clueless bros. I laugh, but I’m careful to say it’s not always like that. Sure, some places are beautifully designed and full of crazy start-up perks, but there are companies that aren’t. Like the one run by people I know, people who spent a year crammed in a tiny two-room office, busy around the clock, emails and messages flying at all hours. In fact, they’ve been going nonstop for a few years now, working on a product they hope will help people be smarter, safer drivers—and maybe even get people to use less gas. Continue reading
By Jordan Alexander Stein
If I hum a few bars, you might begin to recall the tune. It goes like this. In August 1970, a warrant was issued for Angela Davis’s arrest. Two guns she’d legally owned and registered turned up in a courtroom shoot out a week before, and this disgraced philosophy professor, doubtful of getting a fair trial in Ronald Reagan’s California, went underground. For two months, Davis evaded police and the FBI, before she was arrested in a Times Square motel, resurfacing to one of the most publicized trials of the twentieth century.
Those are the verses most people know. But the song I’d rather sing you begins elsewhere—sometime in 1971, when Nina Simone carried a balloon into the Marin County jail where Davis was being held for trial. Continue reading
The following is a feature article from the newly released LARB Quarterly Journal: Spring 2014 edition. To pick up your copy of the Journal, become a member of the Los Angeles Review of Books at the $11 monthly level or order a copy at amazon.com, indiebound.com or b&n.com.
ART FORGERIES have long been the stuff of thrillers, with fake da Vincis or Vermeers fooling connoisseurs, roiling the art world, and moving millions of dollars. We don’t think of ancient books driving such grand forgery, intrigue, and schadenfreude. This is changing thanks in part to a clever forgery of Galileo’s landmark book Sidereus Nuncius, published in Venice in 1610. Arguably one of the most extraordinary scientific publications of all times, Sidereus Nuncius turned Galileo into the brightest new star of Western science. Four centuries later, a faked copy of this book has disarmed a generation of Galileo experts, and raised a host of intriguing questions about the social nature of scholarly authentication, the precariousness of truth, and the revelatory power of fakes. Continue reading
Below is a piece from Boom, one of our LARB Channels. We’ve reproduced it in full here; to read the original, and to check out more from Boom, visit their website.
By Eve Bachrach and Jon Christensen
From Boom Summer 2014, Vol 4, No 2
We’re not arguing about what really matters.
So many columns filled, so much hand wringing, but no one seems to be able to answer: What’s the matter with San Francisco? Continue reading