New York Magazine

The Best Literary Criticism of 2015

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Without a doubt, 2015 was a year of controversy in literature and publishing, from the shady publication of Harper Lee’s Go Set a Watchman to Michel Houellebecq’s controversial take on Islam and French politics in Submission. But it turned out that much of the best criticism of the year, while still concerned with literary controversy, was aimed at less anticipated targets.
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Longform You Have to Read: Tales of Stormy Weather

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In a world where you have more options for satisfying longform reading than ever, your friends here at Flavorwire are taking the time once a week to highlight some of the best that journalism and longform has to offer. Whether they’re unified by topic, publication, writer, being classic pieces of work, or just by a general feeling, these articles all have one thing in common: they’re essential reading. This week, we’re looking at some stormy weather.
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Jonathan Chait Doesn’t Really Care About Free Speech

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“Can a white male liberal critique the country’s current political-correctness craze (which, by the way, hurts liberals most)?” asks the print-edition subtitle of New York Magazine pundit Jonathan Chait’s latest provocation. (For maximum outrage-baiting effect, the version that appears in the magazine is also titled “Trigger Warning,” and the subhead ends with the tease, “We’re sure you’ll let us know.”) A better question would have been, “Can any writer connect the Charlie Hebdo shootings to trigger warnings in college classes, protests against universities hosting bigoted speakers, the term ‘mansplaining,’ and a Facebook group for women writers without sounding hysterical?” The answer, of course, is “nope” — and, furthermore, “grow up.”
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“White People Were Crazy. Now They’re Not As Crazy”: Chris Rock Has a Valuable Perspective on Race in America

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Chris Rock’s new movie, Top Five, premiered at the 2014 Toronto Film Festival to utterly charmed reviews (The Guardian called it “winning”) and the promo that comes with winning the festival buzz by landing the splashiest distribution deal. A meta-comedy about a very famous comedian (Rock) who spends the day giving an interview to a New York Times reporter (Rosario Dawson), the film is small, indie, and Woody Allen-ish, according to Rock.
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