Monthly Archives: January 2017

Brooke Borel on fact-checking and fake news

January 30, 2017
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Brooke Borel on fact-checking and fake news

Brooke Borel, the author of The Chicago Guide to Fact-Checking, on “Fact-Checking Won’t Save Us from Fake News,” at FiveThirtyEight: As for tech, fact-checking and blocking fake news sites from advertising dollars is a start, but it’s not enough. Facebook and Google keep giving users more of what they want to see through proprietary algorithms. This may be great for entertainment, but it doesn’t help when it comes to news, where it may just strengthen existing bias. “Facebook was not designed for this purpose,” said Claire Wardle, research director at First Draft News, a network of newsmakers and academics who provide resources on checking and verifying stories on social media. “It has become the civic town hall, but it was never designed to be.” Tech’s role isn’t only about stifling fake news on social media. Some companies and academics are building algorithms that can help fact-check portions of the web. Here, the key will be not only computer programming, but also transparency in terms of how those algorithms are constructed and building trust by showing how a fact-check is sourced, said Dhruv Ghulati, co-founder of the fact-checking system Factmata. As for readers, we’re the ones consuming all this news. Our clicks feed . . .

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On gentrification in the Cappuccino City

January 27, 2017
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On gentrification in the Cappuccino City

Derek S. Hyra’s Race, Class, and Politics in the Cappuccino City, an ethnography that uncovers the shifting demographics of Washington, DC’s Shaw/U Street neighborhood—a “gilded ghetto” under pressure of displacement from late-capitalist gentrification by an influx of young, white, relatively wealthy, and/or gay professionals—publishes this April. In the meantime, here’s a teaser—an episode from NPR’s “Around the Nation” focused on Shaw’s gentrification, through the eyes of its residents—that leans on Hyra’s research. *** For as much good as Valentine sees happening in his neighborhood, he recognizes there are real lapses when it comes to how people from different backgrounds interact with each other. The neighborhood’s changing demographics have created a space where identities such as race, age and class are constantly brushing up against each other. It’s a tension Shaw is still dealing with years after “gentrification” began. “Until I sit down and talk to you, we’re not going to get anywhere,” he said. “I can say good morning to you, but unless I sit down and say, ‘Where are you from?’ until I let you into my comfort zone and you’re not afraid of what happened once upon a time here in Shaw, there’s not going to be that cultural assimilation.” Derek . . .

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RIP JSG Boggs (1954/55–2017)

January 26, 2017
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RIP JSG Boggs (1954/55–2017)

In 1992 New Yorker critic Lawrence Weschler published Boggs: A Comedy of Values, which made the case for idiosyncratic conceptual artist JSG Boggs (1954/55–2017), whose work fabricated both a physical variety of currencies and the notion of legal tender, when Boggs tried to cash his bills in for goods and services. Boggs died this past week, and was duly eulogized, by both his hometown paper and the art world, and each offer up some details that enhance his story, perfect fodder for a world sorting out “alternate facts” from the “fake news.” From the Tampa Bay Times: Mr. Boggs’s full name was James Stephen George Boggs, but he was better known as J.S.G. Boggs and often just as “Boggs.” His art was all about money. It consisted, in fact, of exquisitely detailed, exact-sized reproductions of American dollars, English pounds and Swiss francs — though with one side left blank and key features drawn with an off-kilter twist. The George Washingtons on his “Boggs bills” sometimes faced the wrong way. Some were drawn laughing. Others crying. On some notes, Mr. Boggs’ own face appeared in place of the dead presidents. Others he signed above phrases like “crazy cash” or “for what it’s worth.” Often . . .

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In conversation: Molly Haskell and Matt Zoller Seitz

January 24, 2017
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In conversation: Molly Haskell and Matt Zoller Seitz

Molly Haskell’s From Reverence to Rape: The Treatment of Women in the Movies is now in its third edition (accompanied by Manohla Dargis’s new foreword)—and the classic work of feminist criticism remains as urgent as when it was first released, crucially analyzing not only images of women in movies, but also the relationship between these images and the status of women in society, the stars who fit these images or defied them, and the attitudes of their directors. Below follows an excerpt from an interview between Haskell and critic Matt Zoller Seitz, wherein the two revisit the book. *** MZS: One of the things that fascinates me about From Reverence to Rape is that, in addition to being about what it’s about—the image and treatment of women throughout movie history—the book is also about what’s shown and what’s withheld, what’s said and what’s unspoken, and what effect that all has on the viewer. At times it seems as if you think that a bit of repression can be good for movies. MH: I do. Well … it’s really plus and minus. Last night I was watching “North by Northwest” and I thought, “That can’t be done anymore.” They can’t make films that have . . .

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White studies and Arizona’s HB 2120

January 20, 2017
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White studies and Arizona’s HB 2120

Just this past week in Arizona, lawmakers in Arizona killed HB 2120 (but only after significant academic protest), a bill spurred by a white studies course at Arizona State University, which would have prohibited state-funded universities “from offering any class or activity that promotes division, resentment or social justice toward a race, gender, religion, political affiliation, social class or other class of people,” or encourages “solidarity or isolation” based on those same categories. Ethnic studies is already banned in K-12 education in Arizona, and HB2120 would have built on recent cases like one in Wisconsin, where because of a course on racism entitled “The Problem of Whiteness,” Republican legislators threatened to withhold funds from the University of Wisconsin at Madison. A recent piece at Inside Higher Ed goes in much deeper about this crisis in representation, including an account from Christina Berchini, an assistant professor at the University of Wisconsin at Eau Claire, who wrote about the attempt to shutdown whiteness studies in a local op-ed: Berchini, who studies whiteness, said in an interview that conversations about it are often “upsetting because it’s so uncomfortable” — in part because many people have never before been asked what it means to be white. . . .

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Alice Kaplan’s Looking for The Stranger is an NBCC Award finalist

January 18, 2017
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Alice Kaplan’s Looking for The Stranger is an NBCC Award finalist

Congrats to Alice Kaplan, the John M. Musser chair in French literature at Yale University, whose most recent book Looking for The Stranger: Albert Camus and the Life of a Literary Classic, was named a finalist for the 2016 National Book Critics Circle Award for Criticism. The honor is nothing new for Kaplan—two of her previous books, The Collaborator: The Trial and Execution of Robert Brasillach (which was also nominated for a National Book Award) and French Lessons: A Memoir, were also finalists, in the general nonfiction and autobiography/biography categories. The National Book Critics Circle awards, selected by a rotating group of rotating professional book review editors and critics, “honor the best literature published in the United States in six categories—autobiography, biography, criticism, fiction, nonfiction, and poetry.” Stay tuned: winners will be announced on March 16, 2017, in a ceremony at the New School. To read more about Looking for The Stranger, click here. . . .

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Our Spring 2017 seasonal catalog

January 11, 2017
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Our Spring 2017 seasonal catalog

Reminder: start your new year off right, and thumb through our Spring 2017 seasonal catalog, which you can download as a PDF here. . . .

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Dirty Waters in the Chicago Reader

January 9, 2017
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Dirty Waters in the Chicago Reader

Corruption might be just as Chicagoan as Mike Ditka’s chain of steakhouses (“We heard that the pork chops were the best in Chicago—not true. Overpriced for an adequate meal.”—Menupages)—the premise didn’t quite originate here, but the vibe is omnipresent, and its consequences are more or less our mise-en-scène. In Dirty Waters: Confessions of Chicago’s Last Harbor Boss, R. J. Nelson tells the tale of his rise and fall as the city’s last director of Harbors and Marine Services. A recent profile of Nelson at the Chicago Tribune delved into some juicy tidbits, which follow below. You can read the piece in full, here, too. *** Nelson recalled numerous, colorful bribery attempts — with boaters hoping to take advantage of the old way of doing things at Chicago’s harbors. One boater who wanted a slip in Belmont Harbor showed Nelson a glossy brochure with pictures of a penthouse condominium in Acapulco — saying Nelson could use it for a couple of weeks in exchange for his help. When Nelson responded “Absolutely not,” the boater added. “It’s fully equipped and includes a companion — gender of your choice!” Other boaters attempted leaving hundred-dollar bills on the counter, gift certificates to Marshall Field’s or sending boxes of Fannie May . . .

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The New Yorker on The Daily Henry James

January 6, 2017
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The New Yorker on The Daily Henry James

Below follows an excerpt from a recent profile in the New Yorker about The Daily Henry James: A Year of Quotes from the Work of the Master, first published as a limited edition in 1911, and back for the masses in the new year, with a foreword by Michael Gorra, c/o the University of Chicago Press. Read the original, in full, here. *** In his preface to the New York edition of “Roderick Hudson,” James wrote, “Really, universally, relations stop nowhere, and the exquisite problem of the artist is eternally but to draw . . . the circle within which they shall happily appear to do so.” In “The Daily Henry James,” relations begin nowhere: the fragments have no connection to one another, and don’t add up to any meaningful narrative. The result is that the book offers Jamesian atmosphere rather than Jamesian plots: flicking through the anthology, you experience the elements that make up James’s novels in the way that you might experience them in real life. You see characters briefly, as at a party or in the street; virtually every page provides an observation on the American character, a description of the grounds of an English country house, a fastidious young man reflecting on the character . . .

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RIP John Berger (1925–2017)

January 4, 2017
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RIP John Berger (1925–2017)

Critic, writer, and playwright John Berger (1925–2017), one of the twentieth century’s most important art critical voices (linking to the Guardian piece, as its the most thorough) died on January 2, 2017. Best known for the four-part BBC series Ways of Seeing (1972) and its accompanying critical text, Berger there offered a Marxist response to another (banal and apolitical) take on the history of culture, also produced by the BBC, Kenneth Clark’s Civilisation (1969). Hyperallergic was first with a tribute, which includes this anecdote: Speaking to Kate Kellaway, Berger explained his interest in labor and social issues. “The connection between the human condition and labour is frequently forgotten, and for me was always so important. At 16, I went down a coal mine in Derbyshire and spent a day on the coal face – just watching the miners. It had a profound effect,” he told her. When she asked how it made him feel. He responded quietly. “Respect. Just respect. There are two kinds. Respect to do with ceremony – what happens when you visit the House of Lords. And a completely different respect associated with danger,” he said. “This is not a prescription for others, but when I look back on my life I think it’s very significant I . . .

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