the tuesday ten

1. Max Fox, “Cashed Out,” in The Baffler (link)

“It seems that the financial establishment, whose temperature our authors aim to credibly report, is still ambivalent about digital currencies and the end of cash.”

2. Rachel Syme, “Kirsten Dunst’s Feminine Urges,” New Yorker (link)

“The humor—you don’t laugh so much as hiss through your teeth—is that being a woman in the world is regularly so absurd and paradoxical that impulsive, inscrutable gestures are the only logical response.”

3. Rebecca Traister, “The Object of Their Ire,” in NY Mag (link)

“In August 2019, New York State attorney general Letitia James was on a boat, fishing, with Andrew Cuomo.”

4. Steve Fraser, “It’s Time to Take Woke Capitalism Seriously,” Dissent (link)

“In the business world, identity politics was a commercial strategy before it became a political one.”

5. Caleb Ecarma, “P*t*r Th**l is M*G*A’s Big Money Man,” in Vanity Fair (link)

“In past election cycles, T h i e l—an early Facebook investor and cofounder of PayPal—has succeeded in predicting the next evolution of the Republican Party.”

6. Parul Sehgal, “The Case Against the Trauma Plot,” New Yorker (link)

“The prevalence of the trauma plot cannot come as a surprise at a time when the notion of trauma has proved all-engulfing.”

7. Silvio Gesell, The Natural Economic Order (1906) (link)

“My conclusions are to the effect that capital must not be looked upon as a material commodity, but as a condition of the market, determined solely by demand and supply.”

8. Franklin Bruno, “The Inside of the Tune,” on SMT-Pod, in conversation with me (link – transcript kindly provided at link: go to the bottom right of the elapsed time slider bar; click 3 dots; click Transcript)

9. Robert W. Winks, Cloak and Gown: Scholars in the Secret War, 1939–1961 (link – credit to @publicarchive feed for the reference)

“At all times a university thinks of itself as a community, being of the world but not distinctly in it, with all the symbols and trappings normally associated with the emotions of nationalism.”

10. Max Nelson, “Alone Together in Taipei,” in New York Review of Books (link)

“much of the energy in his movies comes from the friction between his unhurried, meticulously staged shots and what they document”