Plus: Ye Olde VDs; Habermas; Mayer and Morton; Judith Shklar, Trains
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Today in The New York Review of Books: Dan Rockmore checks OpenAI’s math; Anahid Nersessian reads Ashton Politanoff’s Dad Had a Bad Day; Ange Mlinko follows Lisa Robertson around Paris; Walker Mimms looks at Gladys Nilsson’s watercolors; a poem by Yara Zgheib; and, from the archives, Tim Parks on the Medicis.
The Internet and the smartphone have become formidable tools for the Chinese government to maintain tight control over society.
In eighteenth-century London, syphilis was “the secret disease” that lived in plain sight, and its diagnosis helped modernize the medical profession.
Over the course of his life Jürgen Habermas sought to honor the principle that in a modern democracy the only legitimate force should be the unforced force of the better argument.
The artists Rosemary Mayer and Ree Morton shared an affinity for bringing fabrics, flowers, and language into work that linked personal history to public display.
For Judith Shklar, liberalism was the political art of putting first things first.
Private Life: A New York Review Podcast
In this episode of Private Life, the actress Holland Taylor reads Renata Adler’s essay “The Perils of Pauline,” an expansive assessment of Pauline Kael’s film criticism from the Review’s August 14, 1980, issue.
Free from the Archives
The first official journey on the Orient Express train line departed Paris 143 years ago today, arriving roughly two and a half days later in Varna, Bulgaria, where a ferry waited to take passengers on the last leg to what was then Constantinople. In the Review’s December 23, 2010, issue, Tony Judt wrote about the revolutionary changes that trains brought to the world—carrying is into modernity with speed, timetables, and style.
“As the design of the station made quite explicit, railways were never just functional. They were about travel as pleasure, travel as adventure, travel as the archetypical modern experience. Patrons and clients were not supposed to just buy a ticket and go; they were meant to linger and imagine and dream (which is one reason why ‘platform tickets’ came into being and were very much used). That is why stations were designed, often quite deliberately, on the model of cathedrals.”
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