Today’s needull looks at life of a man who served 33 years in prison. How does he cope in a world which has changed so much in 33 years?
His time in prison did little to prepare him for a career. While he was locked up, Alabama spent less on inmates than almost any other state, and though the understaffed prison had computer classes and trade programs, Elston wasn’t eligible because of his life sentence. “I really don’t actually feel free,” he says. “It seems like everything that I try to do, you know, I run into a brick wall, because I’m not advanced with the way things is today. ”
The complete article
PHOTOS BY JESSICA EARNSHAW; TEXT BY SAMANTHA MICHAELS – Mother Jones
Do Twitter and Facebook spell the end of the critic?
Criticism of any kind is increasingly unwelcome at the digital-age paper. Consider a controversy that flared up in Canada last year. Arthur Kaptainis, who had long been the critic of the Montreal Gazette and more recently had been writing freelance for the National Post, reviewed a Canadian Opera Company production of Rossini’s “Maometto II.” The Canadian Opera asked for a couple of corrections, whereupon the Post took the bizarre step of removing the review from its Web site. Amid the resulting hubbub, a Post arts editor was quoted in an e-mail: “I really hate running reviews for performing arts. They simply get no attention online, and almost always end up as our poorest performing pieces of digital content.” The same mantra is heard at culture sections across America. Reviews don’t catch eyeballs. They don’t “move the needle.”
The logic seems irrefutable. Why publish articles that almost nobody wants? On closer examination, some shaky assumptions underlie these hard-nosed generalizations. First, digital data, in the form of counting clicks and hits, give an incomplete picture of reading habits. Those who subscribe to the print edition are discounted—and they tend to be older people, who are also more likely to follow the performing arts. A colleague wrote to me, “The four thousand people reading your theatre critics might be extremely loyal subscribers who press the paper on others. People in power often speak of ‘engagement’ and ‘valued readers,’ yet they still remain in thrall of the big click numbers—because of advertising, mostly.”
The New Yorker
Image: Painting by Brianna Keeper
A needull for your weekend. What does it take to make your relationship last? “The secret to creating happy and lasting relationships, Miller concludes, is simple: just love your partner or leave.”
Would it be fair to say that you’re applying the thinking behind arranged marriages — such as Sanjay’s parents’ relationship — to love marriages?
Yes. In the Western world, too many relationships have become disposable. As soon as a romantic relationship becomes difficult — and it always does — too many people want to leave or blame the other person, rather than work through the problems. The US divorce rate of nearly 45 percent bears this out. In arranged marriages, escape isn’t typically an option, and we know that many of them actually develop more love than non-arranged marriages, based on fascinating research conducted by Harvard Professor Dr. Robert Epstein. Most of them figure out how to make it work. They work hard at it. They learn to love each other. They learn to create love.
The complete interview
Skye C. Cleary interviews Andrea Miller
This is the story of a man who gets drawn into a dangerous crime and what happens to him. A good long read.
Is the personal essay dead? While the author of this essay claims it is, writers on Medium demonstrate otherwise.
[T]here’s a specific sort of ultra-confessional essay, written by a person you’ve never heard of and published online, that flourished until recently and now hardly registers. The change has happened quietly, but it’s a big one: a genre that partially defined the last decade of the Internet has essentially disappeared.
The New Yorker
Image: Painting by Brianna Keeper
Time is a nonrenewable resource. We’re comfortable with giving away the majority of our waking hours to labor, but what happens when that labor isn’t needed any longer? Many have predicted the rise of the machines and their replacement of workers. This article looks at a place where the future has already started to happen — a village where automation has left residents without jobs.
Now reformers everywhere may have to resolve the dilemma of toilsome versus leisurely Edens. Much of the world is approaching what Jeremy Rifken calls “the end of work” and, more recently, “the zero marginal cost society.” In a zero marginal cost society, machines and computer algorithms replace virtually all human effort in the production of goods and services.
Rural Andalusia never had much retail, but its interior villages used to grow a variety of crops under the laborious conditions described by Blasco Ibáñez. In the last two decades, however, an almost effortless form of green energy has moved in. Wind turbines now crowd the terrain and there are few jobs, agricultural or otherwise. As an anthropologist, I began visiting a village familiar with these machines, hoping to see how people live with unemployment within a landscape that has been transformed from fields into electrical infrastructure.
What’s it like grow up poor and remain poor as an adult? Samantha Irby offers an interesting perspective.
I know I should have invested in a sturdy pair of those bootstraps people who speak at graduation ceremonies are always talking about, but what does that even mean? Pay the rent, throw some cash at the phone bill, sprinkle a little change on the light bill, divide the remaining 20 bucks between the laundromat and a stock portfolio? It all seemed so unmanageable. And the years of being deprived or feeling stressed about money didn’t make me want to save; they made me want to spend, to immediately enjoy the fruits of the $7.25 an hour I made listening to people talk down to me in a customer service job.
The New York Times