In Jean-Honoré Fragonard’s “fantasy portraits,” his congenial sitters are caught mid-stream in a range of pleasurable, intimate activities. The spontaneity and speed of his performance are palpable: hues are blended wet on wet; brush strokes retain their traces; the tip of his brush inscribes zig-zag scribbles deep into the impasto of ruffs, collerettes, and sleeves.
A master of transforming architecture into sculpture, Microscape, is back with another highly detailed site model of a beloved American city. After the enormous success of their New York City scale model, they are back with another 1:5000 scale replica of Chicago.
Microscape’s 3D printed cities are fully customizable, coming in square sections that allow you to select the areas of the city you love the most or fit together several areas like pieces of a puzzle. For the Windy City, the firm has created the replica from 9 square miles of the downtown area, broken into 36, 6-inch by 6-inch squares. So whether you want a model of Willis Tower on your desk as an architectural sculpture or the full downtown map as a piece of wall art, Microscape can make it happen.
And since you can have as little—or as much—of the Chicago replica as you’d like, you can enjoy the beauty of an architectural scale model without having to sacrifice space in your home or office. A searchable map on their website allows you to see the different areas of the site model that are available, even letting you type in a monument or street address to quickly access the quadrant that suits your needs. Microscape guarantees the accuracy of its 3D printing, as it manually processes aerial scan data, meaning that it can also evolve over time as new buildings pop up.
Looking for your own piece of Chicago? At the time of writing, Microscape was making the first pieces available to Kickstarter supporters and with over 200 backers, it’s sure to be as successful as their previous model.
Microscape creates highly detailed 3D scale replicas of different American cities.
The new Chicago architectural model is available in squares that fit together like puzzle pieces.
All images via Microscape.
The post Designers Use Aerial Scans to Turn Any Street in Chicago into Detailed 3D Models appeared first on My Modern Met.
Viewed as a much-needed revival of art and culture, the Renaissance played a pivotal role in ushering Europe out of its Dark Ages and into a world of enlightenment. Beginning in the 14th century and coming to an end in the 17th, this “golden age” swept the continent, culminating in two distinctive yet unified art movements: the Northern Renaissance and the Italian Renaissance.
Based north of the Alps—namely, in Flanders and the Netherlands—the Northern Renaissance was the first of its kind. This movement began in the 14th century following a renewed interest in secular subject matter. Soon, Renaissance ideas spread throughout Europe. This led to the Italian Renaissance, which began in 1400 and reawakened Italy’s interest in Classical antiquity.
While numerous figures shaped both the Italian and the Northern Renaissance, today, a select few are particularly praised for their contributions to Europe’s “golden age.” Here, we present these artists and take a look their most well-known masterpieces.
Northern Renaissance Artists
Pieter Bruegel the Elder
Today, painter and printmaker Pieter Bruegel the Elder (c. 1525-1569) is regarded as the master of Dutch and Flemish Renaissance art. With a penchant for painting scenes of lower-class life—evident in Netherlandish Proverbs—on top of more common religious iconography (like the tower of Babel) he is esteemed for his unique approach to subject matter. Additionally, his crowded canvases are distinctive for their detail and, with their beautiful backdrops (like the icy peaks in The Hunters in the Snow), their influence on modern landscape painting.
Jan van Eyck
Bruges-based painter Jan van Eyck (c. 1390-1441) was an Early Netherlandish painter and key figure of the Northern Renaissance. Though only 20 paintings are attributed to the artist, his work is among the most well-known Dutch art.
Like other Netherlandish artists, van Eyck had an eye for detail and a knack for naturalism, evident in oil paintings like The Arnolfini Portrait—so detailed that it features a hidden self-portrait—and the Lucca Madonna.
On top of his works on canvas, van Dyck is also celebrated for his Ghent Altarpiece. A wooden piece with many panels, the Ghent Altarpiece features richly painted scenes from the Old and New Testament. The masterpiece has been housed in St. Bavo’s Cathedral, a Gothic church in Ghent, since 1432.
Dutch draughtsman, painter, and master of the triptych Hieronymus Bosch (c. 1450-1516) is known for his narrative-rich panel paintings that feature iconography ranging from whimsical to grotesque. Rendered in intricate detail, his most famous pieces, The Garden of Earthly Delights, The Last Judgment, and The Temptation of Saint Anthony, each mix a menagerie of surreal creatures with lesson-laden Biblical themes.
The post 8 Renaissance Artists Whose Work Transformed the Art World appeared first on My Modern Met.
Photographer Tatsuto Shibata (known as on Instagram) is known for his ability to capture the spirit of modern Tokyo. From the chaotic main avenues to quiet side streets, Shibata’s photographs show just how multi-faceted the metropolis really is.
Even oft-photographed spaces, such as the expansive crosswalks of Ginza, take on a new dimension through his lens. Shooting at the perfect time of day, his aerial perspective captures the elongated shadows of commuters and tourists, providing a dynamic light and shade to the composition. “Tokyo is one of the biggest cities in the world and it is always crowded,” the photographer tells My Modern Met via email. “Everyone is hustle and bustle. I enjoy photographing the chaotic street views of Tokyo.”
But for every chaotic view, Shibata manages to sneak in some quiet moments on the side streets of Shinjuku or the reflective beauty of colorful fireworks. Look through his feed and you’ll discover there’s more than just Tokyo in his repertoire. Shibata travels far and wide, whether south down to Kyoto, within Asia to South Korea and China or across the ocean to New York City. No matter the location, he manages to frame the scene perfectly, transporting his followers to each city.
Tatsuto Shibata is a Tokyo-based photographer who explores the chaotic streets of the city.
He loves capturing the chaos of Tokyo, with its streets always brimming with activity.
But he also manages to show a quieter side to Tokyo, providing a multi-faceted view of the metropolis.
Tatsuto Shibata: Instagram
My Modern Met granted permission to use photos by Tatsuto Shibata.
The post Photographer Captures Busy But Beautiful City Streets Unique to Tokyo appeared first on My Modern Met.
Galway Kinnell, who died in 2014, was by any reasonable measure one of the most significant American poets of the second half of the twentieth century. His vital and influential work ranged widely yet was always distinctly his, recognizable by the quality of his vision, by the precise craftsmanship he invested into his language, and above all by a copious compassion, a kind of spiritual abundance that permeated his writings. A poet who mixed the spiritual and metaphysical with the mundane and the commonplace, Kinnell not only recognized but celebrated aspects of human nature — our animalistic urges, our complicated attitudes toward time and death — that other writers, in the attempt to render human experience comfortable and palatable, too often shied away from or showed little interest in. Of his best work — the work of the late ’60s and early ’70s, collected in Body Rags and The Book of Nightmares — we could say what Kinnell once said of the poet Rainer Maria Rilke: “Rilke writes only what is for him a matter of life and death. There’s nothing trivial . . . He writes at the limit of his powers. There are moments when he seems to write beyond the limit. His poetry gropes out into the inexpressible.”
Collected Poems gathers the nine primary collections Kinnell published during his life, from 1960’s What a Kingdom It Was to 2006’s Strong Is Your Hold, along with a selection of early poems dating as far back as 1946, and a selection of late poems, the latest of which was published in the year of his death. It is a substantial book, in more senses than one. At 563 pages plus notes, index, a biographical afterword, and a helpful and insightful introduction by Edward Hirsch, the book is, in merely physical terms, a weighty tome. But what will matter more to readers, and what, really, it is difficult to praise highly enough, is the density, richness, and ambition of — not to mention the sheer pleasure provided by — the work contained within.
Kinnell’s first collection of poems, What a Kingdom It Was, appeared in 1960, when he was thirty-three. His final collection, Strong Is Your Hold, was published in 2006, eight years before his death. Between these career bookends he published seven additional books of poetry, books that won him many readers, and awards including National Book Award, the Pulitzer Prize, and a MacArthur Foundation grant.
Kinnell’s earliest poems are on the whole regular in rhyme and meter and mostly conventional in their imagery and diction. They evince, as one might well expect from an Irish-American poet in the mid-twentieth century, the strong influence of Yeats. But Kinnell moved quickly and decisively past this somewhat constricted starting point: in What a Kingdom It Was he was already taking considerable liberties with both form and diction, and the book contains at least one highly significant and enduring accomplishment, “The Avenue Bearing the Initial of Christ into the New World.” A nineteen-page paean to the multiethnic hurly-burly of the New York neighborhood where Kinnell was living at the time, “The Avenue” strives for and mostly achieves a raucous and deliciously gritty Whitmanesque splendor:
Through dust-stained windows over storefronts,
Curtains drawn aside, onto the Avenue
Thronged with Puerto Ricans, blacks, Jews,
Baby carriages stuffed with groceries and babies,
The old women peer, blessed damozels
Sitting up there young forever in the cockroached rooms,
Eating fresh-killed chicken, productos tropicales,
Appetizing herring, canned goods, nuts;
They puff out smoke from Natural Bloom Cigars
And one day they puff like Blony Bubblegum . . .
Kinnell might well have spent his entire career mining the rich vein of poetic material he had discovered on Manhattan’s Lower East Side. But he was an itinerant wanderer by nature, both in his physical existence and in his mental life, and he found himself being continually called away: to other parts of the United States, to other countries — he lived for a while in Iran and spent considerable time in France — and to diverse intellectual and spiritual territories. In the early 1960s, when he went to Louisiana to witness and take part in the political struggles around segregation, his activism landed him in jail for five days. The experience, perhaps unsurprisingly, gave rise to a poem, “The Last River,” which was included in his 1968 book, Body Rags.
It was a time when large numbers of poets in the U.S. found themselves becoming more political, both in their writings and in their lives. The poetry itself was changing in other ways as well, experiencing a rapid multidirectional expansion on a variety of fronts. Via Robert Bly, James Wright, and a number of others, the influence of foreign language poets was making its way into the American literary scene. (Kinnell himself would publish his translations of the fifteenth-century French poet François Villon in 1965, and would go on to publish translations of poets including Yves Bonnefoy and Rainer Maria Rilke.) Many of these poets were influenced by surrealism, and alongside the streams of political and environmental awareness that fed the poetry of Kinnell and so many others during this time ran the powerful current of the so-called “deep image” tradition, an approach to poetry that de-emphasized conventional rational thought and expression in favor of the attempt to make contact with, and draw upon, the primitive and the dreamlike landscapes of the unconscious.
Mixed like so many potions in the human cauldron that was Galway Kinnell, these various potent forces resulted in a pair of epoch-shaping works: 1968’s Body Rags and 1971’s The Book of Nightmares. In these books Kinnell contemplates human beings and their actions from a perspective that acknowledges and attempts to negotiate between the animal and the civilized. In his vision, humankind’s animalistic nature, severely repressed by social conventions in our ordinary dealings with one another, found savage expression in the wars America waged abroad and in social violence here at home. Kinnell’s poetry reminded us that the animal is the foundation of civilization and contains the necessary grounds for its renewal, Rather than denying that we are part animal, we needed to find a way to integrate it into our lives in order to find wholeness and peace.
The seething troubles of the ’60s — the civil rights struggles, the cultural and political turmoil, most centrally the war in Vietnam — are constantly present in these poems:
And by paddies in Asia
wearing a few shadows
walk down a dirt road, smashed
bloodsuckers on their heel, knowing
flesh thrown down in the sunshine
dogs shall eat
and flesh flung into the air
shall be seized by birds . . .
-(“Vapor Trail Reflected in Frog Pond”)
For the most part, however, these disruptions lie in the background, ceding center stage to more personal moral and spiritual dramas. Indeed, what surprised me most, on rereading these books, was how quiet and gentle so many of these poems are: they seem set predominantly in vast, desolate landscapes pervaded by silence and traversed by solitary wanderers. In the winter scene of Kinnell’s tiny masterpiece “How Many Nights,” the poet wakes to
. . . the frozen world,
hearing under the creaking of snow
faint, peaceful breaths . . .
bear, earthworm, ant . . .
and above me
a wild crow crying ‘yaw yaw yaw’ . . .
Bloodsuckers, dogs, birds, snake, bear, earthworm, ant — Kinnell’s poems from this point forward are filled with animals, a veritable menagerie. In “On the Oregon Coast,” a poem from his 1985 volume The Past, he recalls a dinner with the late Richard Hugo:
The conversation came around to personification.
We agreed that eighteenth and nineteenth century poets almost had to personify, it was
like mouth to mouth resuscitation, the only way they could think up to keep the world from becoming dead matter.
And that as post-Darwinians it was up to us to anthropomorphize the world less and animalize, vegetablize, and mineralize ourselves more.
In Kinnell’s poems the borders between human and animal life are softened, weakened, and at times annihilated altogether. Humans are analogized with animals, they pursue animals, they eat and are eaten by animals. They wrap themselves in the skins of animals, becoming animals, and finding power and liberation in doing so. Kinnell is apt to describe nearly any human phenomenon — the look on a woman’s face, for instance, or an awkward embrace — in terms of some nonhuman animal:
. . . On the landing
she turned and looked back. Something
in her of the sea turtle heavy with eggs,
looking back at the sea. The shocking dark
of her eyes awakened in me
an affirmative fire . . .
(“Middle of the Night”)
At the San Francisco airport,
Charlotte, where yesterday
my arms died around you like
old snakeskins . . .
In the midst of the prison experiences related in “The Last River,” a fellow prisoner metaphorically becomes a bird, being playfully described in terms straight out of a Roger Tory Peterson guidebook:
“Listen!” says Henry David.
“Shee-it! Shee-it!” a cupreous-
throated copbeater’s chattering far-off in the trees.
(“The Last River” )
In “The Porcupine,” from Body Rags, the poet himself seems to be transformed into the animal named in the title. Even more striking is Kinnell’s famous poem “The Bear,” whose speaker hunts a bear and, upon killing it, cuts it open and climbs inside its body, in essence becoming the bear. These two poems — “The Porcupine” and “The Bear” — are the final poems in Body Rags; they are responsible for a good deal of the book’s popularity and, I think, its power.
Thinking about human beings as animals is, of course, a way of thinking about human mortality; and Kinnell is, among other things, one of the great modern poets on the subject of death. In the early poems he seems inclined to accept death, at times even to praise it, agreeing with Rilke that it is precisely our knowledge of our own limited existence that makes the full beauty of that existence apparent. “It is through something radiant in our lives that we have been able to dream of paradise, that we have been able to invent the realm of eternity,” he wrote in a 1971 essay, “The Poetics of the Physical World”:
But there is another kind of glory in our lives which derives precisely from our inability to enter that paradise or to experience eternity. That we last only for a time, that everyone and everything around us lasts only for a time, that we know this, radiates a thrilling, tragic light on all our loves, all our relationships, even on those moments when the world, through its poetry, becomes almost capable of spurning time and death.
From such a standpoint, learning to relinquish one’s existential grip on the world is both a spiritual necessity and an admirable act:
and dying into the old sway bed,
a layer of crushed feathers all that there is
and the long shaft of darkness shaped as you,
In some poems the terror of death is acknowledged but assuaged to a degree by a vision of the human body as something permeable and always in flux, something that is always exchanging the very matter it is composed of with other human bodies, other beings, and with the universe at large. Late poems like “The Quick and the Dead” invoke the biological cycle of decay and regeneration to remind and reassure us that in nature there is no death, only a perpetual process of dying that is, from some other perspective, a way of being reborn.
Such a vision will comfort some readers while disturbing others, and Kinnell himself seems to be of multiple minds about it. At times he is willing to admit to a powerful desire to continue forever in his current human form. “I, who so often used to wish to float free / of earth, now with all my being want to stay, / to climb with you on other evenings to this stone,” he writes in the late poem, “The Stone Table.” And in a poem titled “The Massage” he asks, comically yet poignantly, “How could anyone / willingly leave a world where they touch you / all over your body?” But even when Kinnell admits a desire to live forever, he is clear that what he wants is not the passage of an immaterial soul into an abstract and eternal realm, but simply the continuance of everyday existence; that is, something physical, ordinary, and earthly. (Kinnell would likely have agreed with Woody Allen’s quip: “I don’t want to live on in the hearts of my countrymen. I want to live on in my apartment.”)
This is to say that although Kinnell never shies away from the brute material facts of our lives — even when he is in the midst of longing for eternal life — he is not one of those writers who fixate on the physical as a means of avoiding or abjuring the spiritual. For Kinnell, the way to the spiritual is through the physical: as the Christian mystics insisted, what is divine must be made flesh in order to enter our lives. The impulse to exalt a purified, disembodied notion of mind or spirit at the expense of the physical realities of human existence is, for Kinnell, a symptom of the West’s tendency to think about civilization in precisely the wrong way, as if it were something to be held separate from our animal nature rather than a structured space in which that nature can be fruitfully explored and expressed, a space that needs to acknowledge and indeed embrace what is animalistic about us — what is mortal, material, and corruptible — in order to function at all. When asked how he felt about the poetry of T. S. Eliot, he told an interviewer,
I have always felt that there was something withheld in his voice compared with Whitman, for example . . . the poems [of Four Quartets] are very dry and abstract. The physical world doesn’t enter them. The abstract ideology is a retreat which may be what saved Eliot, but it offered little to me. In some way the Quartets are more personal than Eliot’s other poems, he’s saying what he himself deeply believes as faithfully as he can say it; yet the poetry keep ascending to the airiness of a sermon.
There is no abstract sermonizing in Kinnell, and very little dry airiness. Rather than retreating from the physical he repeatedly throws himself into it, even when it is frightening, even when it hurts.
Kinnell’s two children figure prominently in The Book of Nightmares, and in many of the books that followed. In later decades, as he settled into family life, his work grew more domestic and in certain aspects more approachable; more and more, readers would find this time-obsessed poet looking backward rather than within, drawing on memory rather than the speculations of imagination. If his work never again quite achieved the sustained intensity of the books of the late ’60s and early ’70, one finds it hard to complain; the amiable poems of his later career, after all, tended to compensate with generous portions of compassion, wit, charm, and grace, and they never lost the capacity to move or at times to astonish. The later poems, moreover, display an admirable and touching humility. No longer the oracular visionary of “The Bear” and The Book of Nightmares, Kinnell is in his final works more inclined to ask questions than to deliver pronouncements. The last poem in the last book he published during his life — it seems, somehow, a fitting conclusion — is titled, “Why Regret?” and is composed almost entirely of questions. He wanted to leave his readers free, one feels, to fill in the blanks themselves, to find their own answers in whatever way they could.
The post Singing the Animal Soul: The Poetry of Galway Kinnell appeared first on The Barnes & Noble Review.
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In Boyhood and its sequels, Youth and Summertime, J.M. Coetzee uses family photographs as aides-memoire but makes no mention of his own adolescent passion for taking them. How fascinating it was, then, to see the images made in boyhood in dialogue with the words of an older man looking back, and to imagine the way the ethics and aesthetics of the former might have forged the latter; also, to consider what the image reveals that the word cannot, and vice-versa.
Add Bodie Hills to your travel bucketlist for its wildflowers, wildlife and a one-of-a-kind ghost town. California’s Eastern Sierra region is a dramatic transition zone between the snow-capped granite spires of the Sierra Nevada and the endless sagebrush covered uplands of the Great Basin. A trip at the right time of year will reward visitors with a diversity of wildflowers. Because of their high elevation, wildflower blooms are later here than much of California – typically arriving in May-June on the lower slopes and into July on the highest peaks. Pictured here is the “Dry Lakes Plateau” where ephemeral lakes fill with snowmelt. Photo by Bob Wick, Bureau of Land Management, @mypubliclands
An area rug is a great way to bring out the best in any room. They come in all kinds of shapes and sizes and can be picked up relatively cheap, too. You don’t need to have lots of money to start decorating with area rugs. There are plenty of DIY ideas that you can do at home. If you are wondering where you can find some inspirations, here are some really handy tips.
Add some stripes to the room
Choosing a rug that’s stripy will automatically make the room look bigger. Stripes also give the room a very contemporary modern feel. However, if you’ve already got a striped duvet cover or walls, a plain area rug would be a better choice.
Fluff it up a little
There’s nothing more comforting than getting out of bed in the morning and stepping on a nice, fluffy rug. As well as adding extra warmth to the room, fluffy rugs also make a nice contrasting feature against wooden floors.
Minimalism is the key
Another popular choice is minimalism. You don’t need to have a bedroom packed with lots of objects and loud colors. Plain colored walls with a basic, plain area rug are all you need to pull this look off. It’s very minimalist yet very effective.
Break up the colour
Some people tend to go a little overboard with the same color when decorating their bedroom. Adding an area rug to the room that’s a different shade breaks it up a little.
Wall to wall effect
People sometimes choose wall-to-wall area rugs as opposed to carpeting. It has a really nice effect and is certainly a much cheaper option. You can get them in just as many designs. They look just as good and they’ll save you a whole lot of money in having to fit the carpet.
Blend in the greys
When you first think of grey, you may automatically think old-fashioned. That’s no longer the case. In fact, grey is making a comeback! Grey on grey is a very popular look at the moment, particularly in the bedroom. Having different hues of grey on the walls mixed with a different hue of grey on the floor makes for a very nice look.
Create the mood
Not everyone has the same taste and not everyone will want the same mood for their bedroom. So, choose a rug that matches the mood you’re trying to create. Solid colors or classic pattern rugs work well for a traditional style bedroom. They will make you feel instantly at ease. On the other hand, adding stripes and dots will make the room look more upbeat.
The positioning of a rug can make all the difference to the look your room portrays. Offsetting an area rug will give it maximum visual appeal and can be done by placing the bed on just a third of the rug. This works well with heavily patterned area rugs.
Double the fun
If you have quite a large bedroom, having two distinctly different but complementing rugs in the room can have a nice effect. It can help break up the monotony in such a large area. Just make sure they are different, as too much of the same is never a good thing.
Cozy it up
Laying in a warm bed in a cozy little room is enough to put a smile on anyone’s face. And while you may feel that a small bedroom is already cozy, adding a nice wool area rug can make it even cozier. It will also give the room a nice, rustic look. Now that you have some ideas as to how to decorate your bedroom with area rugs, all that’s left for you now is to go and find (or make) that perfect rug!
The post Decorating With Area Rugs: How to Spice Up Your Bedroom appeared first on Dumb Little Man.
Cats have been a major part of human life for centuries. They are useful, fun to have around, and often quite amusing. But why is the internet so obsessed with cats? And how to make your cat internet famous?
Famous Cats Are Nothing New
Even before there was the internet, there were a lot of famous cats already. Garfield is one great example. This cat appeared in both TV and newspapers. The Brighton Cats, on the other hand, became celebrities after their owners photographed them in absurd poses. The Cheshire Cat was famous for being in Alice in Wonderland while Sylvester became famous with Tweety Bird. Hello Kitty has been wildly popular since the 1980s.
The Internet Has Made Cats More Than Famous
It’s one thing to have a photo of your cat doing something silly go viral but getting your feline friend cat-a-pulted to fame is a whole different story. You’ll have to work hard to manage your cat’s career. And that’s what the owners of famous cats, like Grumpy Cat and Maru have done. They dedicated all their time to managing their famous cats’ social media accounts and public appearances. They even have the sale of books and other merchandise to manage. Could you imagine managing your cat’s online social profiles? It’s actually a lot more common than you might think.
How To Increase Your Cat’s Popularity
I can’t guarantee your cat will become the next Grumpy Cat or Maru but if you have a cool cat that does some cool stuff, there’s no downside to testing the waters. To get started:
- Set up social channels for your cat. YouTube and Instagram tend to be the best ones.
- Start posting regularly to each channel. YouTube is a great place for funny cat videos.
- Test which kinds of content get the most response and focus there.
Build Your Cat’s Audience
Building an authentic online brand for your cat isn’t much different from building one for yourself. All you have to do is keep working to build your cat’s online presence through posting and engagement. It takes some time to build any social media presence, so be patient. Just remember to be authentic and responsive and your cat will surely be on his way to success. You might end up getting a book deal out of it.
Why Do Humans Find Cats So Amusing?
Cats don’t seem to show emotions the way dogs do. They tend to ignore the camera and they do not give a darn. Cats are more than just a pet. They are great companions who will never leave your side. They don’t demand much which is great because life is busy. And occasionally, they can provide great entertainment. So, keep your cameras ready just in case your cat decides to turn you into a millionaire.
It’s The Age Of Wealthy Cats
Many cats that are internet famous are raking in hundreds of thousands of dollars in ad revenue and merchandise sales each year. Your cat may be just one funny facial expression away from that and you won’t know until you try. Are you ready to make your cat internet famous? Learn more about why the internet is so obsessed with cats from this infographic! Courtesy of Pet Life Today
What unsettled me about Black No More (1931) the first time I read it was that George Schuyler was so merciless—about everyone. At a moment when black writers were finally awakening to the beauty of black culture, Schuyler had moved on to the part where we deconstruct race. He showed neither sentimentality nor chauvinism for his own race or any other. He hated everyone, and there is a strange purity to his loathing, a kind of beauty to his cynicism. It is his resistance to pandering, to joining tribes and clubs that feels so refreshing. It is the loneliness of Schuyler’s position that makes me trust it.