For The Future of the Truth: An Excerpt from Nothing Ever Dies

By Viet Thanh Nguyen (author of Pulitzer-Prize winning novel The Sympathizer) for the Provocations series, in conjunction with UCI’s “The Future of Truth” conference

As a Gook, in the eyes of some, I can testify that being remembered as the other is a dismembering experience, what we can call a disremembering. Disremembering is not simply the failure to remember. Disremembering is the unethical and paradoxical mode of forgetting at the same time as remembering, or, from the perspective of the other who is disremembered, of being simultaneously seen and not seen. Disremembering allows someone to see right through the other, an experience rendered so memorably by Ralph Ellison in the opening pages of Invisible Man. Continue reading

We Wish You Great Harm

By Dan Sinykin

I listened to Barack Obama’s first inaugural address on a bus, in the desert, in Israel, while jets flew overhead to bomb the Gaza Strip. I was with 35 other American Jews and a half-dozen Israeli soldiers. Next to me sat Amit, who had, not a week earlier, killed Palestinians as part of the ground siege in Gaza. “It’s not like I looked them in the face,” he told me. “We were all shooting.” To avoid nightmares, he hadn’t been sleeping. “When I close my eyes,” he said, “I see things.” Yet he carried himself lightly, had perceptive eyes, a kind face. Continue reading

Dreaming of Uncommon Languages: An Interview with Poet Jordi Alonso and Illustrator Phoebe Carter

By Lauren Kessler

I met Jordi Alonso at a writers’ conference in New York in the summer of 2013. At the time, he was working on a series of erotic poems inspired by the Greek poet Sappho that would become his first book, Honeyvoiced, published by XOXOX Press. Jordi studied literary translation and poetry at Kenyon College, where he graduated with an AB in English with an emphasis in Creative Writing, in the spring of 2014. He went on to receive his MFA from SUNY Stony Brook, where he was the Turner Fellow in Poetry, and today he is a PhD candidate and a Gus T. Ridgel Fellow at the University of Missouri. Continue reading

America, America

By Jonathan Kirshner

Appalled by the state of affairs, realizing the greatness and the nearness of the danger . . . and thinking, as men are apt to think in great crises, that when all had been done they still have something left to do, and when all had been said they have not said enough, again called on the captains one by one . . . he reminded them of their country, the freest of the free, and of the unfettered discretion allowed to all in it to live as they pleased.” [Thucydides, The Peloponnesian War, 7.69.2] Continue reading

Where to Start Reading Translated Korean Literature

By Charles Montgomery

Because I write a website on Korean literature in translation, people often email me with questions (often questions I am completely unqualified to answer!), far and away most often asking, “I’m interested in Korean literature. What book should I read?” This that would have been hard enough to answer 20 years ago, when the broad outline of Korean fiction was much simpler, and has become nearly impossible question to answer today. Continue reading

Me on Remnick on Trump

By Pete Tosiello

Last month, Ad Age named David Remnick its Editor of the Year, in an announcement which simultaneously recognized his veritable organ, the New Yorker, as Magazine of the Year. The 91-year-old weekly was praised for its embrace of social media, podcasts, and a mostly-successful paywall strategy. The distinction was no doubt a bittersweet one for the Editor-in-chief, who during the election cycle found time between his stewardship of the New Yorker Radio Hour and lengthy writing on Bob Dylan and Leonard Cohen to become one of the media establishment’s most vocal critics of Donald Trump. Continue reading

Another Chance to Understand: John Baldessari at the Marian Goodman Gallery

By Sam Sackeroff

How do you solve a problem like the avant-garde? That is a question that John Baldessari has been asking in one form or another for more than five decades. Since July 24th 1970, when, in an inspired moment of getting-over-it, Baldessari and his students at the University of California at San Diego burned the last-gasp gestural paintings that he had made between 1953 and 1966, he has been exploring different ways of pushing the most compelling elements of advanced visual art out of the ever-narrowing confines of academic modernism and into the rich and unpredictable space of actual looking. Continue reading

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