THR Web Features   /   June 3, 2016

The Hedgehog’s Array: June 3, 2016

Noteworthy reads from the last week:


“In Between Daze,” Michelle Dean

“I thought writing for a living would be a racket, and I’d be paid to pick out good art and go to parties, but since then I’ve learned it’s the art people who have the real scam going.”

“Gawker Smeared Me, and Yet I Stand With It,” Stephen Marche

“Such childish hostility notwithstanding, I believe that Gawker serves an essential function in a celebrity-obsessed culture, and if it were to disappear the world would be poorer and the cause of journalistic truth would be damaged.”

“Comfort and Joy,” Rohan Maitzen

“It’s hard to know how (or even whether) to try to tackle the larger problem. But one thing we can do—those of us who want a better conversation about romance—is, bit by bit, to correct the ‘error’ Regis identifies: to meet sweeping generalizations with specifics, looking not at “the romance novel,” but at particular romance novels.”

“Love on the Run,” Terry Castle

“The Highsmithian lover becomes that crazy-making contradiction: both the criminal genius and the doomed malefactor—ecstatic rebel and cast-off, terrified child.”

“Antiheroic Feminism: An Interview with ‘UnREAL’ Co-creator Sarah Gertrude Shapiro,” Karen Tongson

“And that’s the thing I was trying to say about reality TV and its effect on the world. Sure, shows like that feel like a guilty pleasure. They even feel like fun. But when you start ripping people apart that way, you’re eventually going to turn that lens on yourself.”

“The Sun Is Always Shining In Modern Christian Pop,” Leah Libresco

“I took a look at the last five years of Billboard’s year-end top 50 Christian songs to see whether Christian pop is unrelentingly cheerful. I looked at pairs of concepts across the entire collection of lyrics (life and death, grace and sin, etc.) and calculated the ratio of positive to negative words. For every pair I checked, positive words were far more common than negative ones.”

Hedgehogs abroad:

“Nadar’s highs and lows,” Leann Davis Alspaugh

“Although Eduardo Cadava’s introduction to this first-ever complete English translation of Quand j’étais photographe positions Nadar’s photography as a form of mourning, the subject himself refuses to take this line.”