A half-formed thought feels worse than an empty head—the tip-of-the-tongue sensation, the inkling of a there there without the foggiest notion of how to get, well, there. Especially dire is when the “what” that we wish to articulate feels half-formed itself, something observable yet emergent, for which the masses have yet to find language.
WHEN A MOVIE becomes a mass culture phenomenon, like Barbie, any negative criticism of it runs the risk of coming off hysterical. Any meanness toward it becomes the mirror version of the reactions of fans who see the movie in the theater again and again, who cry during certain scenes each time, and who tell the world about it on social media with a great sense of pride and purpose, or even with a certain amount of shock about its power over them.
What is “creative nonfiction,” exactly? Isn’t the term an oxymoron? Creative writers—playwrights, poets, novelists—are people who make stuff up. Which means that the basic definition of “nonfiction writer” is a writer who doesn’t make stuff up, or is not supposed to make stuff up. If nonfiction writers are “creative” in the sense that poets and novelists are creative, if what they write is partly make-believe, are they still writing nonfiction?
For residents of southeast Paris, the construction vehicles rumbling back and forth behind the Austerlitz train station are a loud annoyance that has gone on for too many months. But for city officials—and countless Parisians, they hope—history is unfolding behind the cordoned-off area. After years of thwarted ambitions and vague promises, the French capital, officials say, is set to accomplish a rare feat for a major metropolis: making its once heavily polluted waterway fit for swimming again.
Neural networks have become shockingly good at generating natural-sounding text, on almost any subject. If I were a student, I’d be thrilled—let a chatbot write that five-page paper on Hamlet’s indecision!—but if I were a teacher I’d have mixed feelings. On the one hand, the quality of student essays is about to go through the roof. On the other, what’s the point of asking anyone to write anything anymore?
THERE IS an axiom that states something to the effect of: Be careful with your words when you're with others, and with your thoughts when you're alone. It's not on my list of resolutions this year, but it might as well be, as these words are something have been thinking about quite a bit lately. In fact, one of the resolutions that didn't make the list this year was to go easier on myself, which is very nearly the same thing.
Communities can be amazingly resilient after traumas. Londoners banded together during the German Blitz bombings of World War II, and rebuilt the city afterward. When I visited the Thai island of Phuket six months after the 2004 tsunami killed thousands in the region and displaced even more, I found a miraculous recovery in progress, and in many places, little remaining evidence of the tragedy. It was inspirational.
Somewhere near the center of Nevada, on the western slope of the Toiyabe Range, there’s a little meadow beside a creek running down from the mountains. In 2019, long before I had ever been there, a man named James Fredette drove his mobile home down the gravel road from the highway and went fishing. It was a lucky day: He caught three big rainbow trout. Then, as the light turned golden and began to fade from the canyon while Fredette packed up his gear, he thought, why not, and walked back down to the creek to try his luck panning for gold. He turned up a few nuggets, right there. Yes, it was a very lucky day.