One of the running jokes in On Beauty, Zadie Smith’s third novel, is that its main character is philosophically opposed to beauty. Howard Belsey is a professor of art history at Wellington College, and like all middle-aged professors in campus novels, he is a ludicrous figure--unfaithful to his wife, disrespected by his children, and, of course, unable to finish the book he has been talking about for years. In Howard’s case, the book is meant to be a demolition of Rembrandt, whose canvases he sees as key sites for the production of the Western ideology of beauty. “What we’re trying to ...
With great sadness, we at the The New Republic learned this week of the death of Rachel Wetzsteon, our poetry editor. Rachel only joined TNR a few months ago, and she had just begun to make her mark on the poetry we publish. But we admired her own poems for years: at 42, she was one of the best poets of her generation, distinguished by her natural gift for form, her tough urban romanticism, and her appealing combination of melancholy and wit.
The Warsaw Ghetto: A Guide to the Perished City, by Barbara Engelking and Jacek Leociak Beg, Borrow, Steal: A Writer's Life, by Michael Greenberg Poems 1959-2009, by Frederick Seidel Love and Obstacles, by Aleksandar Hemon The Conservative Turn: Lionel Trilling, Whitaker Chambers and the Lessons of Anti-Communism, by Michael Kimmage
A Literary Bible David Rosenberg Counterpoint, $30 The quickest way to understand the audacity and originality of what David Rosenberg is attempting in A Literary Bible, the big book of his selected translations from the Hebrew Bible, is to read the introduction to his excerpt from the book of Jeremiah. To countless generations of Bible readers, Jeremiah has been a prophet—indeed, the Hebrew prophet par excellence, his very name a synonym for warning, chastising, and exhorting.