There’s a three-story, three-bedroom town house at 514 Broome Street in Manhattan with an expansive ivy-laden terrace. Entry is through a dining room swathed in exposed brick. A dramatic wooden staircase services the second floor. Venture to the basement and you’ll find a wine cellar big enough for 2,500 bottles.
IT IS, in fact, possible to have a decent time on Goodreads. You just have to ignore everything about the way the site is designed and how you’re supposed to use it. When I first signed up in early 2012...
If there’s one thing authors love more than procrastinating, it’s praising one another. During the Renaissance, Thomas More’s Utopia got a proto-blurb from Erasmus (“divine wit”), while Shakespeare’s First Folio got one from Ben Jonson (“The wonder of our stage!”).
Is this the real life? Is this just fantasy? Those aren’t just lyrics from the Queen song “Bohemian Rhapsody.” They’re also the questions that the brain must constantly answer while processing streams of visual signals from the eyes and purely mental pictures bubbling out of the imagination.
I recall having breakfast at a hotel in Brussels in 2017 and sitting across from Douglas Coupland, the author of Generation X: Tales for an Accelerated Culture, the 1991 book that gave my generation a sort of name that was really only a placeholder for a name. I wanted to tell him how much I resented him for this, but I couldn’t muster the courage to be disagreeable.
One of the most troubling issues around generative AI is simple: It’s being made in secret. To produce humanlike answers to questions, systems such as ChatGPT process huge quantities of written material.
Over the past eight years or so, I’ve been obsessed with two questions. The first is: Why have Americans become so sad? The rising rates of depression have been well publicized, as have the rising deaths of despair from drugs, alcohol, and suicide.
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.
In 1967, the physicist John Wheeler was giving a lecture about a mysterious and startling phenomenon in deep space that the field was just beginning to understand.
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.
From the moment Run-D.M.C., clad in all-black leather and fedoras, emerged from the Cadillac in the “Rock Box” clip, the music video was turning hip-hop artists into icons.
Since the pandemic upended the world, we’ve been getting plenty of mixed signals about cities. We’ve heard both that cities like New York are over and that they’re immensely popular. Are they bastions of disease that people will forever avoid?
I recently completed the road trip of a lifetime. I struck out from Napanee, Ontario, to Los Angeles, California – a 2,800-mile trip that I had been planning since before Covid times. I wanted to take this time to think deeply about our overreliance on cars and our love affair with the open road.
In 1989 and ’90, the culture had not yet figured out what it wanted to be. What we got was the Diet Slice Era—refreshing, indistinct, and a harbinger of what was to come.
I was probably in college when I first learned that movies could commandeer my desires in a manner hostile to my flourishing as a woman. My favorite film at the time was “Sin City,” a 2005 neo-noir adapted from Frank Miller’s graphic-novel series of the same name.