Junot Díaz on race, gender and fiction in the Boston Review.
In an interview with SPIEGEL, Harvard economist Kenneth Rogoff, 58, says it was a mistake to bring all the southern European countries into the common currency. He also argues that Greece should be granted a “sabbatical” from the euro and that a United States of Europe may take shape far sooner than many believe.
Interview with an entire family of Egyptian revolutionaries and activists, many of whom have been to prison on several occasions.
“If the Pentagon is to have its way, it will be the end of national-security journalism in the United States.
They’re trying to interpret the Espionage Act to say that any two-way communication with a source is a collaboration with a source, and is therefore a conspiracy to commit espionage where classified information is involved. The Pentagon, in fact, issued a public demand to us that we not only destroy everything we had ever published or were ever going to publish in relation to the U.S. government, but that we also stop “soliciting” information from U.S. government employees. The Espionage Act itself does not mention solicitation, but they’re trying to create a new legal precedent that includes a journalist simply asking a source to communicate information.
What advice do you have for journalists, based on your experience?
I have a lot of sympathy for journalists who are trying to protect their sources. It’s very hard now. Unless you’re an electronic-surveillance expert or you have frequent contact with one, you must stay off the Net and mobile phones. You really have to just use the old techniques, paper and whispering in people’s ears. Leave your mobile phones behind. Don’t turn them off, but tell your source to leave electronic devices in their offices. We are now in a situation where countries are recording billions of hours of conversations, and proudly proclaiming that you don’t have to select which telephone call you’re intercepting, because you intercept every telephone call.”
I also think that the diffusion of the media has complicated things. For example, I was just watching — I don’t know if you heard what I said in the other room — I was just watching MSNBC, and they had a woman that used to work for me and a couple of other people on there, and they were talking about the Republican primary. And I was laughing. I said, “Boy, it really has become our version of Fox.” And I say that because think of the economics of running cable channels. Suppose you and I bought a cable channel, and he [pointing] bought another. You know that to make a living out of it, you’ve got to get about eight hundred thousand viewers for all your major programs. So you can get eight hundred thousand, and you won’t be as wealthy as Fox, but you’ll do okay. And now if you get a slice that’s that small and still viable — and you know it’s not like when we just had NBC, CBS, and ABC. That’s all there was. Everybody had enough market share that they knew would guarantee some comfortable level of profit. And yet there was enough competition that everybody could keep each other honest, and when the Vietnam War came along, they could send fifty-five-year-old reporters to Vietnam for extended stays. They could afford to have correspondents in Europe to report. Correspondents in Asia. All that’s changed now. And so the good news is you can get a lot of information off the Internet for free and in a hurry. But I think the breaking up of the media, which is otherwise kind of healthy, has contributed to less actual reporting and a louder, more contentious, more divisive public discourse, highlighting conflict, sometimes falsely.
Well, according to Woody, his ascent has been a series of painful falls. Success hasn’t changed him, Allen insists: he’s still a schlemiel. “I’m afraid of the dark and suspicious of the light,” he says. “I have an intense desire to return to the womb—anybody’s.” Ineptitude, Woody goes on, is a family curse.Time | Jul 1972
Mark Zuckerberg, June, 2005
What is the trait you most deplore in yourself? Mark E. Smith answers the Proust Questionnaire.
My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.
NYMag Profiles Louis CK | One-Man Show
Television showrunners are notorious multitaskers, with the most successful able to toggle easily between the roles of CEO and auteur. But Louis’s work on Louie requires a whole different level of personal oversight. The show is based on his life. Louis is the director. He’s also the only writer, the sole editor (he no longer shares duties with the co-editor he had last season), not to mention the person who oversees music (when the music guy’s budget ran out, he decided to do it himself). He also hired his own casting team: Last season, he turned down FX’s offer to help out and doesn’t inform them about casting in advance. But perhaps the most unusual aspect of the show is that Louis C.K. gets no notes from the network during filming, no script approval—an unheard-of “Louis C.K. deal” that has made him the envy of comics and TV writers alike. It’s a situation Louis is not taking for granted.
Much of our modern theater seems rooted in the Shakespearean discovery of the modern mind. We’re stealing instead from an earlier, less-traveled construct—the Greeks—lifting our thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality…
But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It’s the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomic forces that are throwing the lightning bolts and hitting people in the ass for no decent reason… Because so much of television is about providing catharsis and redemption and the triumph of character, a drama in which postmodern institutions trump individuality and morality and justice seems different…