INTERN magazine, concerned with internships in the creative industries. A “tactile showcase for the precocious talent currently working in these fields unpaid and as interns.…initiating a long overdue and frank debate about the current state of the intern culture, and its potential implications in both the short and long term…”
That short Joe Sacco documentary we posted the other day? Now playable in your dash. Take a look.
The Great War is twenty-four feet long and in stores now.
Joe Sacco and his editor Matt Weiland are here tonight, 7pm, talking about The Great War. Watch this, and then we’ll see you there.
Let me tell you a joke, all right? There’s three guys, and they’re walking down the street. One guy says to the other one, “Hey, your shoe’s untied.” He says, “I know that.” And they walk… No… There’s two guys, they’re walking down the street, and one of them says to the other one, “Your shoe’s untied.” And the other guy says, “I know that.” And they walk a couple blocks further, and they see a third friend, and he comes up and says, “Your shoe’s untied.” “Your shoe’s un - ” Uh, I can’t remember this joke. But it’s good.
Stranger Than Paradise (1984) Jim Jarmusch
Rootless Hungarian émigré Willie, his pal Eddie, and visiting sixteen-year-old cousin Eva always manage to make the least of any situation, whether aimlessly traversing the drab interiors and environs of New York City, Cleveland, or an anonymous Florida suburb. With its delicate humor and dramatic nonchalance, Jim Jarmusch’s one-of-a-kind minimalist masterpiece, Stranger Than Paradise, forever transformed the landscape of American independent cinema. - from back cover
— Barbara Epler, again.
— Zadie Smith, in the NYRB, on corpse-carrying, Knausgaard, Tao Lin, your phone, and being alive.
Hari Kunzru at McNally Jackson, 11/14/13
From last night’s introduction to our evening with Hilton Als (by event coordinator Alice Whitwham):
"It’s an honor to welcome Hilton Als tonight, theater critic for the New Yorker for a reading and discussion to mark the publication of WHITE GIRLS. I can’t really express how much I loved this book, a collection of thirteen pieces that defy categorization, fusing fiction and fact, the personal with the journalistic, the loose and wild with the formalistic, with an inventiveness and spontaneity which is like nothing I’ve experienced before. WHITE GIRLS’ formal variety reflects the complexity of Als’ subject matter, and the urgency, clarity, and lyricism of voice speaks to its relevance. This is a beautiful, necessary work…"
(Mr. Als was pleased.)