News from the Division of Languages and Literature

“Four days of hearings contained not a single substantive exchange. . . . Barrett surely doesn’t think that her future position on the Supreme Court is a bullshit job; Senate Republicans don’t think that packing the courts with conservatives is bullshit work, either,” writes Gessen. “But, like the people who are rushing her onto the bench, Barrett does seem to believe that the nomination and confirmation process are bullshit—she shares the Trump Republican Party’s contempt for the norms and processes of the government in which she has risen so far, so fast.”

“Mr. Mendelsohn’s eighth full-length work is itself a book that springs from other books, including his own. It is a brief but bountiful mashup of criticism, literary biography, craft essay and personal history. As always, the author’s voice blends authority with considerable warmth and charm, luring readers into his complex intellectual enthusiasms. Mr. Mendelsohn has honed a prose style that is nuanced yet clear, without a hint of pedantry, and one is always glad to learn what he has to teach. Grandeur and intimacy are the poles between which all ambitious writers suspend their work. There is a sense in both the “Odyssey” and in “Mimesis” that their authors are capable of reaching through time to speak companionably to every reader. Mr. Mendelsohn’s books are distinguished by this kind of approachability as well. ... Three Rings, a short but profoundly moving work, clings with tenacity to a belief in the regenerative power of literature.”

“Whether paying tribute to the young Patti Smith or imagining the subsequent lives of the original owners of 45s in his collection or recalling the long-gone businesses and denizens of the Lower East Side, he puts the reader right there, seeing what he saw, thinking what he thought,” writes Dmitry Samarov in Vol. 1 Brooklyn. “This new collection, which follows the equally essential Kill All Your Darlings, is a must for anyone curious about art and culture made in this country during the last era when what’s new was gleaned firsthand, in the flesh, rather than passively received by screen.” Read an excerpt from Sante’s new collection in the Paris Review.

“We’d like to believe that suffering instructs and ennobles; that our grief, fear and pain increases our sympathy for the grief, fear and pain of others,” writes Distinguished Writer in Residence Francine Prose. “But again, Donald Trump seems to be ineducable, impervious to shame, guilt or any sense of personal responsibility, unaffected by anything except vanity, selfishness and reckless self-regard. Certainly, the experience of having his blood oxygen level drop so low that supplemental oxygen was required must have been alarming, and yet the president continues to believe that bluster is the best medicine.”

“Those who succeeded in screening out Trump’s cacophonous noise and listening to Joe Biden may have noticed a moment that was, to me, a high point of the debate. … It was the moment when Joe Biden (yes, looking directly into the camera) said, “When I hear 200,000 deaths, I think of the empty chairs at dining room tables all across the country, which just months ago were filled by loved ones. It didn’t have to be this bad.” It’s the sort of statement that many of us have been waiting to hear, some genuine acknowledgment of the human costs, the pain of all the death. … How have we learned to settle for being led by a man who would never say this, who has no conception of (or pity for) human grief, loss or love? Or perhaps Trump honestly believes that the mourners at the table will be consoled by the great job that Donald Trump is doing on healthcare.”

“Urban Legends is a parabolic dish microphone pointed at history, collecting the waves that outsiders have bounced off the South Bronx,” writes Sasha Frere-Jones. “The triumph of the book is the first half, where L’Official corrals visual depictions of the South Bronx and builds a lattice of history and shadows. … L’Official examines the work of visual artist Gordon Matta-Clark and photographer Ray Mortenson alongside a huge stash of tax photos taken in the 1980s, and the book blooms. Having synthesized this cohort, L’Official offers us an understanding of ‘the elasticity of both the archive and fine art to represent subjects with occasionally remarkable intricacy.’” 

Bard alumna Emily Schmall ’05 is the newest New York Times staff correspondent, and she will be based in New Delhi. She studied Spanish and literature at Bard College, where she cofounded La Voz with Mariel Fiori ’05 as a student project. Emily went on to receive a master’s from the Columbia University Graduate School of Journalism’s business and economics reporting program. She gained experience as a stringer for the Times in Argentina, notably covering the historic selection of Pope Francis, after which she worked with the Associated Press in Fort Worth and later New Delhi.