The Latest Chapter in the Reading Wars
Phonics was my nemesis, and later, I heard it as Phyllis Schlafly’s battle cry. Why, I wondered, was reading instruction political?
Phonics was my nemesis, and later, I heard it as Phyllis Schlafly’s battle cry. Why, I wondered, was reading instruction political?
Philosophy needed some rebranding, if people were not to relegate it to grumpy old men. But Becky Moon was just a freshman, so she shrugged off the question and contented herself with doodling fresh, playful little pictures about the thought experiments.
Our healthcare system runs on profit. It could use some fortification. Also, a few towers, so we can see farther into the future. And maybe a moat, to keep out the misinformation.
Imagine the catharsis, for the gender that has been schooled for centuries to be good and sweet and nice. But girls are no longer forced to be demure—and no longer need bad boys to act out their unlived urges. So why does the appeal persist?
Mothers sewed these quilts when everyone else was asleep, so there was no time to fuss over the details. For batting, they beat the dirt out of trash cotton or swept the floor of the cotton gin. Quilts were women’s work, therefore practical and unquestioned. How were these women to know, tucked into a paper-clip curve of the Alabama River with scant access to the rest of the world, that their quilts echoed the best and most daring modern art?
The monetization mindset extends far beyond hobbies. Taking the marketplace as our model, we cheerfully objectify ourselves and one another in all sorts of contexts.
The moth-to-flame metaphor lasted for good reason. It colors our attitudes toward saintly masochism, heroic idiocy, great and stupid loves, magnificent obsessions that sop up people’s money and leave their families starved for affection and bread. And it leaves us as confused as the insects.
It took a South African to restore and transform Forest Park. Now an Englishman has given us a Cahokia in which three groups intermingle—Indian, Black, and European—with precarious harmony.
In the world of miniatures, Kelly could make art that was comprehensive for her and for the viewer, tackling a topic that loomed large by shrinking it down to size, ordering, and controlling it. Thus she took the overwhelming, misunderstood, dangerous compulsion of hoarding, something nobody ever quite comprehends, and made it approachable.
Esther Perel knows both pain and resilience: her parents were the only members of their families to survive Nazi camps. She is not afraid, as I often am, to cut into the pain.
The dogsitter, it turns out, is not the least judgmental—at least, he does not wince or smirk, and he sounds happy to return in March. The dog adores him. Relieved on all counts, we write a check and say goodbye. Pandora’s box has been safely entered and exited.
Despite a ripple of shock and pity, default response to any stranger’s brutal murder, Brent Sikkema still feels remote to me. Then I read Vik Muniz, one of Latin America’s most acclaimed artists, admitting, “I have spent more than 30 years trying to pointlessly emulate his juggling of fearlessness, kindness, and sophistication.”