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Read e-book online Harper's (July 2011) PDF

Selected Articles

Gold trustworthy:
Profiting from paranoia with valuable metals
By Thomas Frank

The language of work
By Mark Kingwell

Fiction

Last night
By Colson Whitehead

Incident within the Oriente
By Paul Theroux

Poetry

Space
By invoice Knott

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New PDF release: Digital Barbarism: A Writer's Manifesto

World-renowned novelist Mark Helprin deals a ringing Jeffersonian security of non-public estate within the age of electronic tradition, with its degradation of suggestion and language, and collectivist bias opposed to the rights of person creators.

Mark Helprin expected that his 2007 ny instances op-ed piece in regards to the extension of the time period of copyright will be acquired quietly, if now not altogether neglected. inside of every week, the object had accrued 750,000 indignant reviews. He used to be stunned by way of the breathtaking feel of entitlement verified through the commenters, and appalled by way of the breadth, pace, and illogic in their responses.

Helprin learned how enormously various this iteration is from these sooner than it. The artistic Commons flow and the copyright abolitionists, just like the remainder of their iteration, have been knowledgeable with a latest bias towards collaboration, which has led them to denigrate person efforts and in flip fueled their experience of entitlement to the culmination of alternative people’s labors. extra vital, their egocentric wish to “stick it” to the grasping company pursuits who keep watch over the construction and distribution of highbrow estate undermines not only the potential of an self reliant literary tradition yet threatens the way forward for civilization itself.

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Les Samouraïs - download pdf or read online

Une aventure s'est déroulée en France entre 1968 et 1990: fièvre de l. a. pensée et des corps, passions excessives, goût du risque. Les personnages de ce roman en sont issus.

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Les Samouraïs excellaient dans l'art de l. a. guerre comme dans los angeles poésie, los angeles calligraphie ou le rituel du thé. Olga, Hervé, Martin, Carole, Joëlle et les autres poursuivent une expérience qui les conduit parfois à l'erreur, à los angeles violence, à l. a. mort. Ces méditatifs sont les Samouraïs modestes, comiques ou intenses d'une société sans sacré, mais qui leur permet d'aller jusqu'au bout du sens de l. a. vie, jusqu'au bout d'eux-mêmes.

's n+1, Issue 20: Survival (Fall 2014) PDF

From Wiki:

n+1 is a brand new York–based American literary journal that publishes social feedback, political remark, essays, artwork, poetry, publication reports, and brief fiction. it really is released 3 times every year, and content material is released on its web site numerous instances each one week. each one print factor averages round two hundred pages in length.

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This add isn't really a part of my ongoing venture. This . pdf was once published formally through n+1 via their on-line archive. the single edits I made to this . pdf was once making the desk of contents clickable.

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Read this journal in the event you like: leftist politics and something literary.

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No deal with the caregivers, no success for the narcos. may still artists receives a commission? money your privilege! David Samuels is going to the Grammys. Frank Guan experiences Tao Lin. New fiction from Akhtiorskaya and Zink.

Additional info for Harper's (July 2011)

Example text

That’s what the critics claim it was. schickel: But this character is, for better or worse, half man and half God.  . schickel: Whatever. scorsese: That’s the beauty of it. Let’s accept him as completely God and completely man, and therefore he’s going to feel everything a man feels. schickel: Of course. indd_0519 46 5/19/11 12:51 PM interference rule to someone who doesn’t care about football. But to an educated Catholic, his description of Christ as “half man and half God” mentally cues the red light and buzzer that follow the wrong answer on a quiz show.

You’re not a filmmaker,” the Nigerian director Kunle Afolayan said to me during dinner one night. We were sitting by the pool, the tables still crowded close to midnight, with festivalgoers discoursing loudly, merrily, over bottles of red and plates of poulet braisé and brochettes de capi­ t ain e. Across t he pool, t hree Burkinabé musicians plucked out soulful chords on their koras. Fruit bats screeched and swooped across the garden, the fairy lights twinkled, cutlery clattered euphoniously. At our table, two festival programmers had just explained to us the subtle art of programming—the need to find a balance within the film selections.

The format shouldn’t be what determines how good your film is,” he said. Afolayan’s complaint was part of a larger grievance that the African film world would not give the Nigerian industry its due. Afolayan could be vainglorious one second—­The Figurine, it should be noted, is a Kunle Afolayan production, starring Kunle Afolayan—but he could also be vulnerable to what he perceived as a lack of respect for himself and his countrymen. After the festival curators concluded their elaborate apologia, Afolayan finished his food, wiped his mouth, and turned to a South African programmer sitting beside him.

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