David Hancock Turner has an interesting reflection on Margaret Atwood’s MaddAddam trilogy for Jacobin, titled “After the Flood.” He writes:
Atwood seems to intuit this and her emphasis on prefigurative forms of resistance only seems like a natural response to an overweening corporate dystopia. When the dream of revolutionary transformations seems so distant, why not at least have a taste of utopia in this world rather than toil amidst a rotten society and its artificial politics? Or does the workplace nevertheless remain the fundamental space of struggle, although now too removed or amorphous for us to recognize and rejuvenate its logic?
And what does it mean if Atwood transforms revolutionary praxis from labor activism into sabotage from the elite workers coupled with a strategy of refusal by an eclectic grouping of transients — two tactics we have recently witnessed in our own American society? The apocalypse that inhabits so much of our contemporary imagination is a signifier that the revolution and its classical preconditions are perhaps too difficult to dream.
And here’s an older review by Ursula K. Le Guin of The Year of the Flood (2009) in The Guardian.
My good friend, sculptor Taylor Baldwin, has a great write-up in Beautiful Decay, “Taylor Baldwin’s Assembled Madness.” A sample of his work, a couple of my favorite pieces.
Taylor Baldwin, The Interpreter (2010).
Taylor Baldwin, US Infantry Camel Corps (Feat. Emma Lazarus) (2007)
The Atlantic reports that “LOL and/or Lol! The Internet Has Style Guide Now: Sort Of.” Here’s the style guide at BuzzFeed.
Recent reports on the mega-text: “What You Learn About Tech from Watching all 456 Law and Order Episodes,” by Rebecca J. Rosen for The Atlantic.
And my friend Carolyn Kellogg reports that “Younger Book Dealers are Diving into the Antiquarian Trade” for The Los Angeles Times.