Essay

Read more about the article Review: Mircea Cartarescu (2022) Solenoid.
Mircea Cartarescu

Review: Mircea Cartarescu (2022) Solenoid.

Whether literature will save us or not is a poetic question, and the narrator’s prosaic denunciation of its false promises cannot settle the matter one way or another. Towards the end the narrator throws his manuscript into a burning abyss, choosing to save his child with Irina. How then are we left with this lexical arabesque delineating the contours of the possibility space occupied by human consciousness in an indifferent world? Solenoid answers the riddle by positioning itself qua literary work as a noble lie. In successfully reporting the narrator’s choice of the human satisfactions of love and commitment the literary work overcomes its chimerical destiny.

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Read more about the article Review: Blake Bailey (2021) Philip Roth: The Biography, Skyhorse Publishing.
Watercolour portrait by Cain S. Pinto (2022)

Review: Blake Bailey (2021) Philip Roth: The Biography, Skyhorse Publishing.

Blake Bailey's Philip Roth biography has something for everyone: it satisfies the reader who wants to relive the rapture of reading Roth at his best, the literary dilettante who wants to bone up on dinner table banter about notable priapic penpushers, and aspiring heirs to Roth’s ballpoint sceptre.

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Read more about the article Review: Indra Nooyi (2021) My Life in Full: Work, Family, & Our Future. Portfolio/Penguin
Indra K. Nooyi (2021)

Review: Indra Nooyi (2021) My Life in Full: Work, Family, & Our Future. Portfolio/Penguin

For her meteoric rise to be a satisfying story the rags-to-riches-heroine needs to start from a position of complete destitution. Put her in a middle class home with its usual opportunities, joys, disappointments, and brushes with tragedy, and then even her rise to the presidency of the United States is immediately less interesting. This story arc can only be rescued from narrative indifference if she’s a colourful personality, someone perpetrating incredible hijinks, always getting into capers which strain our moral muscles but from which we come away with her stronger rather than broken. None of this true of the story of Indra K. Nooyi’s life; it has neither a rags to riches trajectory nor the emotional heft of a tale worth the telling. It is fitting that this stylized ledger of Nooyis deeds, personal and professional, is delivered in a monotone, grocery list, register. The troughs and peaks are equally unremarkable in the treatment they receive, and the ending is clear right at the start. Indra Nooyi was born, she worked hard, and with a little luck she succeeded.

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Read more about the article Overcoming Adorno’s Aesthetic Critique

Overcoming Adorno’s Aesthetic Critique

Adorno observes in his posthumous opus Aesthetic Theory: “It is self-evident that nothing concerning art is self-evident anymore” (2). Adorno’s pessimism about art in his time and ours arguably presupposes a problematic definition of art and artistic merit. In what follows I’ll rehearse his arguments, give a charitable gloss of considerations which lead him to his position, and argue that they are consequences of his subscription to something like the institutional theory of art. I’ll then present Levinson’s historical theory of art as a sound alternative to the institutional theory of art, develop an evaluative framework for assessing artistic merit, and show it is compatible with Adorno’s attitudes towards art while being immune to problems he identifies with the prospects of art in his time and ours.

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Read more about the article On Hating Writers but Loving Writing
Amy Hungerford introduces the CEO of Misogyny, David Foster Wallace.

On Hating Writers but Loving Writing

Are some writers so morally unsavoury that their novels, however admirable, are incapable of being lovable? Amy Hungerford, Ruth Fulton Benedict Professor of English and Comparative Literature at Columbia University, certainly thinks so. In her polemic against Wallace in general, and Infinite Jest in particular, she opines that Wallace’s zealous defence of the length of his doorstop against a condescendingly described Michiko Kakutani’s protestations can only be evidence of his misogyny.

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Read more about the article Medium-relativity of the Temporal Dimension in Visual Art
Left: Rubens Flap by Jenny Saville. Right: Watercolour rendition of Rubens Flap by Cain S. Pinto.

Medium-relativity of the Temporal Dimension in Visual Art

Visual arts are conventionally classified as spatial arts; they can be apprehended in a single moment. Yet, arguably, they also codify a temporal dimension which is elided by the spatial vs. temporal art dichotomy. Acrylic paints dry very rapidly, dry to a darker shade, and create layers of application that have a uniform level of saturation throughout a brushstroke. These facts about the medium compel the acrylic artist to constantly mix colours for each part of a painting, mix colours a smidgen lighter than they intend it to appear in the final work, and achieve any gradations in colour intensity implied by the lights and shadows on the subject using as many tints and shades of the local colour as may be required to achieve smooth transitions. By contrast watercolours dry relatively slowly, dry to a lighter tint, and create applications that have a gradated saturation going from high to low from the centre of a brushstroke to its peripheries [modulo the wetness of the paper].

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