The New Criterion

Gathers essays about modernism, Marxist criticism art patronage, Wallace Stevens, Picasso, Aaron Copland, Michel Foucault, Barbara Pym, Richard Serra, and Cindy Sherman.

"'This book,' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of Books Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies. . . . But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history. . . . It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History

An investigative journalist exposes the many holes in today’s bestselling behavioral science, and argues that the trendy, TED-Talk-friendly psychological interventions that are so in vogue at the moment will never be enough to truly address social injustice and inequality. With their viral TED talks, bestselling books, and counter-intuitive remedies for complicated problems, psychologists and other social scientists have become the reigning thinkers of our time. Grit and “power posing” promised to help overcome entrenched inequalities in schools and the workplace; the Army spent hundreds of millions of dollars on a positive psychology intervention geared at preventing PTSD in its combat soldiers; and the implicit association test swept the nation on the strength of the claim that it can reveal unconscious biases and reduce racism in police departments and human resources departments. But what if much of the science underlying these blockbuster ideas is dubious or fallacious? What if Americans’ longstanding preference for simplistic self-help platitudes is exerting a pernicious influence on the way behavioral science is communicated and even funded, leading respected academics and the media astray? In The Quick Fix, Jesse Singal examines the most influential ideas of recent decades and the shaky science that supports them. He begins with the California legislator who introduced self-esteem into classrooms around the country in the 1980s and the Princeton political scientist who warned of an epidemic of youthful “superpredators” in the 1990s. In both cases, a much-touted idea had little basis in reality, but had a massive impact. Turning toward the explosive popularity of 21st-century social psychology, Singal examines the misleading appeal of entertaining lab results and critiques the idea that subtle unconscious cues shape our behavior. As he shows, today’s popular behavioral science emphasizes repairing, improving, and optimizing individuals rather than truly understanding and confronting the larger structural forces that drive social ills. Like Anand Giridharadas’s Winners Take All, The Quick Fix is a fresh and powerful indictment of the thought leaders and influencers who cut corners as they sell the public half-baked solutions to problems that deserve more serious treatment.

Challenging the radical orthodoxies that have disfigured contemporary intellectual debate, the essays in Against the Grain cover a wide range of controversial subjects, from the philosophy of Michel Foucault to the apocalyptic kitsch of Anselm Kiefer, from the scandals of political correctness and multiculturalism to the state of Latin American literature and politics. Samuel Lipman writes on the future of classical music; Hilton Kramer on the plight of the art museum today; Joseph Epstein on the poet C.

If you think the alphabet stops with Z, you are wrong. So wrong. Leave it to Conrad Cornelius o'Donald o'Dell (with a little help from Dr. Seuss) to create an entirely new alphabet beginning with Z! This rhyming picture book introduces twenty new letters and the creatures that one can spell with them. Discover (and spell) such wonderfully Seussian creations as the Yuzz-a-ma-Tuzz and the High Gargel-orum. Readers young and old will be giggling from beginning to end . . . or should we say, from Yuzz to Hi! This Read & Listen edition contains audio narration.

An ethnography of the tattoo community, tracing the practice's transformation from a mostly male, working-class phenomenon to one adapted and propagated by a more middle-class movement in the period from the 1970s to the present.

The poems of Into These Knots, Ashley Anna McHugh's debut collection, glance from heaven to earth, from earth to heaven, interrogating and elucidating in elegant and supercharged speech ultimate questions and intimate foibles. With equal parts intelligence and passion, Ms. McHugh can quarrel with scripture or riff on the amorous pleadings of Andrew Marvell or the stark musings of Baudelaire. Ms. McHugh's poems resound with a songlike intensity and an arresting power entirely their own. Personal meditations on loss, and the need to reconcile with the past, ground this collection, even as the poems struggle against their precarious conclusions. Skillfully crafted, the poems in Into These Knots capture a precise clarity of cadence, accompanied by an exacting attention to the intricacies of traditional verse. Frequently returning to their tonic chord of doubt, the poems never abandon their search for a lasting belief, an attainable transcendence, and, above all, the possibility of forgiveness.

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND KIRKUS REVIEWS Hailed as “the indispensable critic” by The New York Review of Books, Harold Bloom—New York Times bestselling writer and Sterling Professor of Humanities at Yale University—has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. Now he turns at long last to his beloved writers of our national literature in an expansive and mesmerizing book that is one of his most incisive and profoundly personal to date. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom’s most masterly book yet. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers’ works in conversation with one another, exploring their relationship to the “daemon”—the spark of genius or Orphic muse—in their creation and helping us understand their writing with new immediacy and relevance. It is the intensity of their preoccupation with the sublime, Bloom proposes, that distinguishes these American writers from their European predecessors. As he reflects on a lifetime lived among the works explored in this book, Bloom has himself, in this magnificent achievement, created a work touched by the daemon. Praise for The Daemon Knows “Enrapturing . . . radiant . . . intoxicating . . . Harold Bloom, who bestrides our literary world like a willfully idiosyncratic colossus, belongs to the party of rapture.”—Cynthia Ozick, The New York Times Book Review “The capstone to a lifetime of thinking, writing and teaching . . . The primary strength of The Daemon Knows is the brilliance and penetration of the connections Bloom makes among the great writers of the past, the shrewd sketching of intellectual feuds or oppositions that he calls agons. . . . Bloom’s books are like a splendid map of literature, a majestic aerial view that clarifies what we cannot see from the ground.”—The Washington Post “Audacious . . . The Yale literary scholar has added another remarkable treatise to his voluminous body of work.”—The Huffington Post “The sublime The Daemon Knows is a veritable feast for the general reader (me) as well as the advanced (I assume) one.”—John Ashbery “Mesmerizing.”—New York Journal of Books “Bloom is a formidable critic, an extravagant intellect.”—Chicago Tribune “As always, Bloom conveys the intimate, urgent, compelling sense of why it matters that we read these canonical authors.”—Kirkus Reviews (starred review) “Few people write criticism as nakedly confident as Bloom’s any more.”—The Guardian (U.K.)