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Michael Berube on the Race Donnybrook that Would Not Die

Filed under: The Squib Report Tagged: Michael Berube

Martin Schneider writes:

I've been a fan of Michael Bérubé's since I was in college (graduated 1992), and was charmed to have a brief exchange with him several years ago about an essay of his that apparently only I liked, about 2001: A Space Odyssey, in which he argues persuasively that the extremely common default reading of the movie, which involves some variation on the idea that HAL "goes crazy," is indisputably contradicted by virtually everything that happens in the movie, and that the movie is really a political movie about the Cold War military-industrial complex. It's an eye-opener.

Anyway. Bérubé's exhaustively hyper-droll style always brings a smile to my face, even when he writes 2-3 times more than my attention span can handle (he kissed the Blarney Stone). Today he turns his attention to his only appearance in The New Yorker, a relatively dusty (1995) look at Cornel West and a few other African-American intellectuals who became more prominent in the mid-1990s.

Be forewarned; his post of today is not for everybody. I like Bérubé because he chases down a lot of nuance in people's arguments that other writers wouldn't bother with; plus he's funny in a way that no academic of my knowledge is. But not everyone will take him the same way.

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Emdashes, founded in 2004 by Emily Gordon, is a place where keen and dedicated readers of The New Yorker, past and present, can find related news and commentary: about people, subjects, and ideas within the magazine, and events and conversations outside its pages. Learn more about us and our contributors.

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Some writing by Emily Gordon

Review: A Gate at the Stairs by Lorrie Moore (for Newsday)
Annotated slide show: a wet, festive 2009 Coney Island Mermaid Parade (for nycgo.com)
Proposal: A better-looking MetroCard (for A Brief Message)
Feature: Muslim immigration iconography in the Netherlands, and an interview with Ayaan Hirsi Ali (for Print)
Review: Does a redesign of The New Republic mean a change of tune? (for Print)
Interview: four online obsessives and visual cataloguers, Kate Bingaman, Nicholas Felton, Ellie Harrison, and John D. Freyer (for Print)
Review: King's Gambit: A Son, a Father, and the World's Most Dangerous Game by Paul Hoffman (for Newsday)
Interviews: winning New Visual Artists Eleanor Grosch, Zigmunds Lapsa, Christian Cervantes, and Kate & Camilla (for Print)
Profile: lindy hop legend Frankie Manning (for Newsday, with Robert Fouch)
Feature: Rea Irvin, illustrator, bon vivant, and The New Yorker's first art director (for Print)
Profile: screenwriter and novelist Joe Keenan (for Newsday)
Review: My Tiny Life: Crime and Passion in a Virtual World by Julian Dibbell (for Newsday)
Review: Charles Dickens by Jane Smiley (for Newsday)
Review: Jayber Crow by Wendell Berry (for Print)
Report: Learning to read with comic books edited by Françoise Mouly (for Print)
Report: The New Yorker's redesigned website (for Print)
Interview: James Surowiecki on what's next for the wisdom of crowds (for Assignment Zero)
Review: The Complete New Yorker (for Print)
Interview: Matthew Diffee on the appropriately inappropriate cartoons of the The Rejection Collection (for Print)
Interview: Roz Chast on Brooklyn, pysanky eggs, and animation (for Newsday)
Review: books about various New Yorker cartoonists by Liza Donnelly and Iain Topliss (for Newsday)
Review: Charles Addams: A Cartoonist's Life by Linda H. Davis (for Newsday)
Interview: Edward Gorey (for Newsday)

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They say that dashes “are particularly useful in a sentence that is long and complex.” Emdashes—like em dashes—emphasizes what’s between: in particular, between the lines, covers, and issues of a magazine close to my heart.

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