Congrats to sociologist Michèle Lamont, winner of the 2017 Erasmus Prize, which honors an individual or group who has made “an exceptional contribution to the humanities or the arts, in Europe and beyond.” The Erasmus Foundation cited Lamont—a professor of sociology and African/African-American Studies, the Robert I. Goldman Professor of European Studies, and director of the Weatherhead Center at Harvard University—for her “devoted contribution to social science research into the relationship between knowledge, power and diversity.” Books written, edited, or coedited by Lamont and published by the University of Chicago Press include the collection Cultivating Differences: Symbolic Boundaries and the Making of Inequality (coedited with Marcel Fournier); The Cultural Territories of Race: Black and White Boundaries (edited by Lamont); and Money, Morals, and Manners: The Culture of the French and American Upper-Middle Class. To read more about Lamont’s work, click here. . . .
Gems and Jewels is an app and the product of a unique collaboration between the University of Chicago Press and the Grainger Hall of Gems at Chicago’s Field Museum of Natural History (along with the Field Museum’s senior vice-president and curator of gems and gemstones, Lance Grande), published by the digital mavens at Touch Press. Crystals, crystals, crystals—also Etruscan gold necklaces, insects paralyzed in Baltic amber, and a 16th-century Aztec opal made in the image of the Sun God—all in 360-degree rotation, along with detailed captions and scientific data from Wolfram|Alpha, including classification, group, hardness scale, and chemical compound. Accompanying text unfolds from the upper left corner of each page and explores the roles of particular gems in human culture, explains geographic origins, and recounts the extraordinary histories of particular jeweled pieces. Starting today and for the next week, all Touch Press apps are 50 percent off at the iTunes store, including Gems and Jewels. You can check out the sale here. If you’ve never had a look at the app before, the video below should give you an indication of what you’re missing: To read more about Gems and Jewels, click here. . . .
From Richard Fairman’s review of Beethoven for a Later Age at the Financial Times: The book follows personal journey, while simultaneously threading through the parallel stories of Beethoven’s development as a composer, of the string quartet in general, and of early 19th-century culture and politics. Does all that seem a tall order? The narrative is potentially as complex as one of Beethoven’s knotty four-part fugues in the late quartets, but 20 years’ experience of playing chamber music has made Dusinberre adept at handling the interplay of multiple themes. Self-awareness and a sense of humor play their part. Sleight of hand makes the book entertaining and easy to digest. Back in 1993, the invitation to join the august Takács Quartet was not extended lightly. “This is not a job,” warned one of the other three. “It’s your family, your life.” Periods of months away on international concert tours mean that any kind of settled social life has to be forgotten. From day one, the diary involved criss-crossing continents in a dirty white Ford Granada alternating with long hours of rehearsal sessions, day and night in the company of the same three colleagues. Every string quartet sets out with the intrinsically contradictory aim . . .
From Lawrence Lenhart’s recent review of The Great Derangement: Climate Change and the Unthinkable, at the Rumpus: The largest section of The Great Derangement examines “Story” (the consignment and suppression of literary forms), but Ghosh also looks at the impact of alternate histories and global politics on climate change discourse. He wags his finger at those who would blame Indian and Chinese modernization for bringing us to the tipping point; instead he points to western idealism and technophilia that created the myth that everyone can have two cars, a washing machine, and refrigerator, when in fact “modernity can only be practiced by a small minority of the world’s population… not because of technical or economic limitations but because the earth would asphyxiate in the process.” What’s more, Ghosh directs our attention to the irony that “the Anthropocene has reversed the temporal order of modernity: those at the margins,” Tuvaluans and southern Bangladeshis for example, “are now the first to experience the future that awaits all of us.” Elsewhere Ghosh takes exception to John Updike’s description of the novel as an “individual moral adventure.” This conception makes us more likely to tell stories about the fall of the Berlin Wall or the . . .
Darby English’s 1971: A Year in the Life of Color points to a moment when the self-representation of black American artists working in the wake of modernism manifested in two shows staged during a tumultuous period of cultural, political, and aesthetic change—Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, “a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.” *** Hyperallergic (in a piece by Jessica Bell Brown) has more commentary on what the convergence of these two shows meant for dismantling a homogeneous narrative of black modernist expression: Enter 1971, which takes as its starting point a most urgent year in aesthetic and racial politics. English’s object of study are two exhibitions essential to the ongoing relationship between black American artists and modernism: The Deluxe Show and the Contemporary Black Artists in America exhibition at the Whitney Museum, preceding Deluxe in the spring of 1971. In his book, English magnifies “an unprecedented brief swell of dissent within black political culture” that year, centering his study on the status and relevance of “color” as an aesthetic and social obsession. For so long, historians of African American art were unable . . .
Michael Swingen was assigned to review Ted Levin’s America’s Snake: The Rise and Fall of the Timber Rattlesnake for Rain Taxi Review of Books. What did he do instead? He created the 30-minute short film, “Snakes and Such,” about “the book, the author, and the process of reviewing.” Watch it in full below: To read more about America’s Snake, click here. . . .
Meursault, the protagonist (or anti-hero) of Albert Camus’s The Stranger, is one of literature’s all-time classic characters—a French-Algerian, emotionally detached drifter who murders an Arab in a griefless rage. Below, Alice Kaplan, author of the National Book Critics Circle-nominated Looking for The Stranger: Albert Camus and the Life of a Literary Classic, writes at Wonders and Marvels on the origins of the character’s name, and her theory as to why Camus picked the epithet he did. *** For any French reader, that name can only signify the delicious and expensive white Burgundy wine. I was really shocked when I looked at the only surviving manuscript of The Stranger and discovered that Camus writes his character’s name without a “u” throughout. Where did that “u” come from? Some Camus experts claim he thought of the name change at a dinner party where he was served an especially good bottle of the Burgundy wine. Then there’s the story of the contest. Every November, a literary prize of 3,000 bottles of Meursault wine was awarded to a book celebrating the glory of the land. An ad for the prize appeared in the French press in November, 1941, as Camus was putting finishing touches on his novel. Although Meursault isn’t a very funny . . .