From The Craftsman: Sennett Expands The Notion of Craftsmanship
Pandora, the Goddess of Invention, was, according to the Greeks, not merely the giver of gifts. Opening Pandora’s jar or box was often considered a jeopardous act, one that could unleash not just creation, but also destruction. Curiosity and its fruits, in such legends, were treated as a danger. After all, Adam sinned when he bit into the apple of knowledge,
Just when we thought that the all-rounder, Renaissance-types were no longer faddish, Tom Hanks, who hardly needs an introduction as an actor, director and producer, has cranked out an astonishing collection of short stories. And I use “cranked out” because I deliberately want to evoke the clackety-clacks, the whirs and bings of those old-fashioned machines that once used to occupy offices before noiseless computers slid into their place. And this too, is an aspect of Hanks that is little known to the general public: he has a fetish for typewriters.
During the pandemic, many of us have been compelled to alter our exercise routines. Earlier, I used to swim and walk. In the last few months, I’ve been forced, like many others, to just walk. And occasionally, when I walk alone, I’ve been wondering about what walking does to us. In his book, A Philosophy of Walking, the author Frederic Gros, a Philosophy Professor at the University of Paris XII, emphasizes that one of the charms of walking is that it is not a “sport”.
One of the offshoots of months of relative confinement has been the discovery, for me at least, of new forms of entertainment. Besides Web Series, it has been diverting to stumble on riveting podcasts, especially those that imbue the audio tales with a gritty, documentary feel. Wind of Change, created by the New Yorker writer Patrick Radden Keefe is one of those gratifying listen-ins that starts with a tantalizing premise. The question that trigger’s Keefe’s quest across continents to engage with spies,
I’m 53. Strange that such a straightforward fact, the only data point perhaps, over which I can claim to have some certainty, should feel, in the contemporary era like a guilt-ridden admission. As if one ought to be defensive for having inhabited the planet for five whole decades, bearing witness not only to the tidal shifts and miniscule flutters in our surroundings, but also in the self. As a writer, I am naturally inclined and perhaps even obligated to stay introspective and curious.
Driven largely by the success of Apple and also by its founder’s layered persona, “design thinking”, has spawned many corporate workshops, process changes and adopters. After all, if Steve Jobs, who was as obsessed with the appearance of things, as with their functions, could foster such a technology behemoth, then surely the methods used by designers could usher new products, experiences or even ways of being? Humans, however, have always been fascinated by creators well before “design thinking” infiltrated our buzzy online chatter.
Often it takes an outsider’s captivation to shine a distinct light on a phenomenon that is unfolding around us in a seemingly slow and hence almost unnoticeable manner. Michiel Baas, an urban anthropologist who is currently engaged with the Max Planck Institute for Social Anthropology, has written a richly-nuanced account of the manner in which male bodies are being reshaped in middle-class India. Though trained as an academic, he has consciously made his narrative non-fiction work,
I’ve been particularly fascinated by Japanese crime fiction. Partly, this has to do with the setting. After all, Japan always seems to embody certain particularities – the crafted precision of its Haiku poems and ikebana arrangements, the grittiness of its neon-drenched cities, the slick ruthlessness of its gangsters or Yakuza. Then its seeming insularity from the world that’s contradicted by its embrace of American brands. As Douglas McGray puts it in his brilliant feature on “Japan’s Gross National Cool,” Japanese culture – its anime characters,
The Library Book: Susan Orlean Recalls an Idyllic Time inside Libraries
Harry Peak was often characterized by his “very blond” hair. Growing up in Santa Fe, not too far from the giddying dazzle of Hollywood, the kid had a flair for theatrics and drama. But his skills often slid into playing the kind of pranks or telling the kind of lies that would garner attention. Later on, as an adult, he told his family that he had landed acting parts in movies,
Alok Sinha was only 30 years old, when he was part of a Tata Motors team that presented a business plan to Ratan Tata, the then Chairman. Tata’s critique spotlighted two key metrices: market share and net profitability. For most young executives, in their early 30s, such an instance might have dissolved into a hazy episodic memory, evoking traces only of the elation of such a rare encounter.