Features
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Feature
Page-Turner at The New Yorker, July 1 2014. Uncovering the story of Ted Peckham and his thriving male-escort service in 1930s New York.
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Poets & Writers, May/June 2014. With their new magazine, Scratch, Jane Friedman and Manjula Martin are busting through the last literary taboo: money.
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THE GREAT WAR, By Joe Sacco. The panorama darkens as we move from behind-the-lines activity to the combat zone, from preparations to attack: a dark-grey wash marks nightfall, with small white patches picking out candlelit dugouts and distant explosions.
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THE ART GENOME PROJECT. At first glance, Artsy.net looks like the minimalist homepage of a wealthy museum. But it’s what you can’t see—how the images are categorised and organised—that sets the site apart.
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BOOKERMANIA at the Morgan Library. The display is designed to celebrate the physical book, while at the same time showing off what everyone comes to the Booker to find: intellectual battles, backstabbing, and bitchery.
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THE MAID’S VERSION, by Daniel Woodrell. The novel draws on a devastating event in the history of Woodrell’s small Ozarks town: the unexplained explosion of its dance hall one night in the late 1920s, which killed over 40 people.
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THE UNWINDING, by George Packer. If there is hope in these stories, it lies in the resilience of the ordinary characters Packer writes about with empathy, patience, and respect—in what he calls “the ability of people to survive in the middle of strong winds blowing.”
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ON JESSIE REDMON FAUSET. In 1900 a full 90 percent of employed African-American women were in domestic or personal service; if nothing else, by portraying women of color as artists and businesspeople, Fauset cracked a window of opportunity into the gloom of ‘the help.’
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PATRICK LEIGH FERMOR. He’s an autobiographer who can always see the past under the present as if through the thinnest gauze, and can imagine himself back into the mind and body of his 18-year-old self. The cold really bites, the fireplace and the beer really warm.
