Links in the Time of Coronavirus, Vol. 6: August 16–September 15, 2020

Black Lives Matter

Inae Oh, “Wisconsin Police Shot Jacob Blake in ‘Broad Daylight.'”

Peter Beaumont, “Kenosha: Teen Charged with Murder after Two Black Lives Matter Protesters Killed.”

Adam Serwer, “The New Reconstruction.”

Jasmyn Wimbish and Jack Maloney, “NBA Protest, Live Updates: Schedule Announced for Resumption of Playoffs on Saturday, Sunday.”

Shams Charania, “Sources: LeBron James Sought Out Barack Obama for Advice to Players.”

Melissa Gira Grant, “Far-Right Militias Are Learning Impunity From the Cops.”

Hallie Golden, Mike Baker, and Adam Goldman, “Suspect in Fatal Portland Shooting Is Killed by Officers During Arrest.”

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Irony, Archives, and (Dubious) Posthumanism

I’m currently discussing DFW’s “E Unibus Pluram: Television and U.S. Fiction”[1] with my freshman English class, and so of course it was quite appropriate that Christy Wampole just wrote an opinion piece in Saturday’s New York Times, “How to Live Without Irony.”

In hyperarchival news:

To address this issue, the Wikimedia Foundation is collaborating with JSTOR, a service of the not-for-profit organization ITHAKA, to provide 100 of the most active Wikipedia editors with free access to the complete archive collections on JSTOR, including more than 1,600 academic journals, primary source documents and other works. The authors who will receive accounts have collectively written more than 100,000 Wikipedia articles to date. Access to JSTOR, which is one of the most popular sources on English Wikipedia, will allow these editors to further fill in the gaps in the sum of all human knowledge.

And The New Yorker has a piece by Gary Marcus on “Ray Kurzweil’s Dubious New Theory of Mind.”


[1] There are two things to note about this link: 1) it links to a .pdf of the original Review of Contemporary Fiction piece from 1993, so is (perhaps) slightly different than its final appearance in A Supposedly Fun Thing I’ll Never Do Again (1997), and 2) it is dedicated to “M.M. Karr” (Mary Karr), which takes on all sorts of different significances in the wake of Max’s biography of DFW.