Plus: women's rights in the Soviet Union; revisiting the Moro massacre; and a new Nobel laureate
| Today in The New York Review of Books: Jay Neugeboren on the rise of working homelessness; Elaine Blair on women’s work in the Soviet Union; Vicente L. Rafael on a forgotten massacre in the Philippines; Ken Chen on the films of Miguel Gomes; Peter Cole on the poetry of Hayim Nahman Bialik; David Cole on Trump’s extrajudicial killings on the high seas; and László Krasznahorkai wins the Nobel. Also, congratulations to László Krasznahorkai, who won the Nobel Prize in Literature today. Read an excerpt of his novella Animalinside, free from our archives, below. As housing costs have risen and affordable housing remains in short supply, even Americans with full-time jobs are experiencing homelessness. The Soviet Union’s ambitious program of gender equality could never be separated from its abuses of power. The history of a single photograph reveals how an atrocity in the Philippines was forgotten by its American perpetrators. Fintan O’Toole hosts Keeanga-Yamahtta Taylor and Patricia J. Williams for a wide-ranging conversation on political violence in America. This online event is pay-what-you-wish (with a suggested fee of $10) and open to the public. Both the strengths and weaknesses of Miguel Gomes’s films come from their commitment to capturing the porousness of life. Often mislabeled as a proto-Zionist oracle of vengeance, Hayim Nahman Bialik speaks to us now instead as a poet of poise under soul-crushing pressure. Trump has now ordered the killing of at least seventeen people on the high seas—with no accountability. Free from the ArchivesThe Nobel Prize in Literature was awarded to the Hungarian novelist László Krasznahorkai today. Known for exploring apocalyptic visions in dense novels like The Melancholy of Resistance and Baron Wenckheim’s Homecoming, Krasznahorkai is also a master of the short-form, and in 2011 he collaborated with the artist Max Neumann on a novella inspired by Neumann’s artwork, Animalinside, which was excerpted in The New York Review. “The prose of Hungarian Novelist László Krasznahorkai is full of menace,” Colm Toibin wrote in his introduction to the work, “but it would be a mistake to read the menace either as political or coming from nowhere.” “The day is coming and we are coming, and seeing as it’s already here, seeing as that day has come, and you didn’t notice that it has come, here we are, we see it all, we see what you’re doing with your little chests, we see what you’re doing with your little possessions, and we see what you’re doing with the child, we see everything already from up here...” Special Offer
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