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  </channel><item rdf:about="https://www.oaklandreviewofbooks.org/mac-barnett-make-believe-childrens-literature/">
    <title>A map to being human</title>
    <dc:date>2026-07-13T10:25:41+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/mac-barnett-make-believe-childrens-literature/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An Oakland schoolteacher on Mac Barnett's “Make Believe” and the good books her young readers deserve."

...

"What is all of this debate for? Why is children’s literature important for adults, particularly and especially for those who don’t have kids, don’t work with kids, and perhaps don’t care for kids much or at all?

Asking what children’s literature is for pushes us to ask what literature as a whole is for. Why looking at a page instead of a screen still matters, a fact that we loudly insist is critical for children but silently ignore for ourselves. If we believe that children’s literature is for teaching kids how a person should be, maybe that will remind us that is the secret hidden in books for adults, too. And in any other art that requires engagement for more than thirty seconds, with an objective greater than having us subscribe, spend money, or consent to being surveilled. Children need art that engages their thoughts and emotions; we demand that for them and we should demand it for ourselves too. 

I want children’s literature to be a place to go to undisturbed, away from ads and algorithms, with our thoughts that are our own, in private communion with the writer/artist and no one else. To help us think, breathe, recoup, and have our nervous systems left undisturbed by bright lights and cheap tricks. Art, literature, children’s literature return us to being human through the very real human experiences of awe and meaning-making. Kids need this, and artists like Barnett remind us why this matters."]]></description>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/end-over-end/">
    <title>End Over End</title>
    <dc:date>2026-07-11T22:42:09+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/end-over-end/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Atlantic has pronounced that “The End of Reading is Here,” the latest in a long series of stories, there and elsewhere, that lament that no one -- but specifically no student -- reads anymore. They don’t read; they can’t read.

When I say “long series,” I really do mean long. In 2024, The Atlantic published a piece on “The Elite College Students Who Can’t Read Books.” More than a century earlier -- quite early in the history of public education in this country, to be clear, as well as in The Atlantic’s own existence – the magazine’s writers were wringing their hands with similar concerns: “Does the system of education in our common schools give the pupils a taste for good literature or much power of discrimination?” Charles Dudley Warner asked in 1890. “Do they come out of school with the habit of continuous reading, of reading books, or only of picking up scraps in the newspapers, as they might snatch a hasty meal at a lunch counter? What, in short, do the schools contribute to the creation of a taste for good literature?”

It sure seems that as long as we’ve believed everyone should read, we’ve fretted that everyone doesn’t (or at least The Atlantic sure has worried) -- they don’t read enough, and even if they do, they don’t read the right kinds of material.

We’re probably always right to worry a little – and maybe even worry a lot. Reading has been foundational for how we learn things, and not just how we learn “facts” and how we acquire “knowledge,” but how we learn about one another. The novel, in particular, grants the reader profound access to someone else’s interiority. “While reading, we can leave our own consciousness, and pass over into the consciousness of another person, another age, another culture,” Maryanne Wolf writes in Proust and the Squid: The Story and Science of the Reading Brain. Reading builds understanding and empathy – to others’ lives, others’ identities, others’ arguments and expression. And no doubt, it’s what often feels like an utter dissolution of any shared social contract today, even more than any loss of a shared reading list, that makes our particular “end of literacy” feel so utterly threatening.

But again, it seems as though “the end” has always been here, or at least near (particularly in The Atlantic’s headlines). Media theorist Marshall McLuhan declared we were on the cusp of a post-literate world back in 1962. His student Neil Postman said much the same again in the 1980s.

For Postman, the problem was television. And I think you could argue that that still is the problem. Indeed, former Atlantic writer Derek Thompson suggested last year that “everything is television” -- that much of what people are doing online is simply watching TV, which now streams on devices that are smaller and more portable; its content -- RIP Neil Postman -- shorter and even shallower.

It’s almost always been technology of some sort or another that’s posited as endangering, eroding, and now in the case of The Atlantic, actually ending literacy. It’s “AI” and social media and the much vaguer, generalized threat of “screens.” It’s the design of these products that have simultaneously demanded and shortened our attention span, making the kind of slow contemplation that reading requires feel even more laborious.

But maybe illiteracy is teachers’ fault -- ah yes, that familiar story line -- for adopting what The New Yorker recently dismissed as “vibes based literacy” instruction rather than the (so cleverly named) “science of reading.” (From The Atlantic, in 2024, a story on Lucy Calkins and “How One Woman Became the Scapegoat for America’s Reading Crisis.” If the vibes are bad, she’s the culprit, plenty of publications and podcasters would have you believe. And yet, "the reading wars" and debates over phonics versus whole language extend back to the nineteenth century too.)

Or maybe educators or teacher-educators aren’t directly to blame; but surely, somehow, somewhere, schools must be at fault. Maybe the decline of reading is the fallout of some failed education policy: the Common Core, perhaps, or going farther back in time, No Child Left Behind. Or maybe the better word here (certainly among the usual suspects of education reform) is not so much “failed” as a legacy “unfulfilled” – The Atlantic, for its part, has been at the forefront of calls to bring back standardized testing and its associated high-stakes accountability measures.

Perhaps we're perpetually stuck at "the end of reading" because we're so caught up in finding a culprit for some broader civilizational decline. (We're always told we're at the end there too, it seems.) It's not that I don't worry about reading – who's reading, how much reading, what kind of reading material, and so on. I do. I worry because I love reading – books are among the most wondrous inventions of humankind. And I love reading because without it, I could not write and I could not think. Not well. Not clearly. Not intelligently.

These practices are all deeply intertwined for me, and I worry that it's the latter in particular that culturally (technologically, politically, and economically) we no longer value. We don't invest in cultivating young readers because we don't actually want thinkers. We don't actually value imagination or inquiry, because increasingly, we find ourselves in a world for which the only forms of agency and expression involve clicking and consuming."]]></description>
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    <title>The End of Reading Is Here - The Atlantic</title>
    <dc:date>2026-07-09T05:52:51+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/2026/08/reading-crisis-postliterate-age/687618/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Optimists once believed that universal literacy was inevitable. Now it seems that the age of reading might be a short anomaly in human history."]]></description>
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    <title>How I Learned to Read Way, Way More - John Paul Brammer</title>
    <dc:date>2026-06-15T00:04:06+00:00</dc:date>
    <link>https://johnpaulbrammer.substack.com/p/how-i-learned-to-read-way-way-more</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I had to rethink my relationship to attention"]]></description>
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<item rdf:about="https://www.lars-mueller-publishers.com/are-we-human">
    <title>Are We Human? | Lars Müller Publishers</title>
    <dc:date>2026-06-01T04:34:28+00:00</dc:date>
    <link>https://www.lars-mueller-publishers.com/are-we-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are We Human? Notes on an Archaeology of Design
Beatriz Colomina and Mark Wigley

The question Are We Human? is both urgent and ancient. Beatriz Colomina and Mark Wigley offer a multi-layered exploration of the intimate relationship between human and design and rethink the philosophy of design in a multi-dimensional exploration from the very ﬁrst tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design.

Colomina’s and Wigley’s field notes offer an archaeology of the way design has gone viral and is now bigger than the world. They range across the last few hundred thousand years and the last few seconds to scrutinize the uniquely plastic relation between brain and artifact. A vivid portrait emerges.

Design is what makes the human. It becomes the way humans ask questions and thereby continuously redesign themselves.

"[The book] holds important potential to reframe the history of design for the age of the interface."  
– Avery Review

"A multifaceted and multisensory essay [...] a brilliant book that will satisfy the most curious minds."
– Arts et Culture

Author(s): Beatriz Colomina and Mark Wigley
Design: Okay Karadayilar
11 × 18 cm, 4 ¼ × 7 in
288 pages, 181 illustrations
paperback
2016, 978-3-03778-511-9, English

Mark Wigley (*1956) is a Professor and Dean Emeritus at the Columbia Graduate School of Architecture, Planning and Preservation. As an architectural theorist and historian, Wigley explores the intersection of architecture, art, philosophy, culture, and technology. His publications include “Buckminster Fuller Inc.: Architecture in the Age of Radio” (2016), “Cutting Matta-Clark: The Anarchitecture Investigation” (2018) and “Are We Human: Notes on an Archaeology of Design” that he published together with Beatriz Colomina in association with their curation of the 3rd Istanbul Design Biennial. Wigley was born in New Zealand, where trained as an architect, and lives in New York.
Beatriz Colomina

Beatriz Colomina is the Howard Crosby Butler Professor of the History of Architecture and the founding director of the Media and Modernity program at Princeton University. She has written extensively on questions of architecture, art, sexuality and media. Her books include “Sexuality and Space” (1992), “Privacy and Publicity: Modern Architecture as Mass Media” (1994), “Domesticity at War” (2007), “Clip/Stamp/Fold” (2010), “Are We Human? Notes on an Archaeology of Design” (2016), with Mark Wigley, “X-Ray Architecture” (2019) and “Radical Pedagogies” (2022)."

[See also:
https://www.lars-mueller-publishers.com/we-bacteria

"We the Bacteria: Notes Toward Biotic Architecture
Beatriz Colomina, Mark Wigley

The sequel to the authors’ “Are We Human?”, this provocative book is an urgent manifesto for an alternative architectural philosophy. It treats bacteria as the real architects, construction workers, maintenance crews and inhabitants of buildings. Colomina and Wigley draw on the latest research into microbes to rethink the past and possible futures of the built environment. The book explores the intimate entanglements of the microbes within bodies and buildings over the last 10,000 years, culminating in the antibiotic philosophy of contemporary architecture.

The diseases of our time are diseases of the built environment. The deadly combination of rapidly declining microbial diversity and rising antibiotic-resistant bacteria is as great a threat as climate change. Hostility to bacteria has to give way to new forms of hospitality from a more symbiotic architecture that learns from bacteria, embracing them and reconnecting with soil, plants and other species. Buildings based on fear of bacteria, which is to say fear of life itself, must give way to buildings learning from models of coexistence based on bacteria themselves. The main goal of the book is to rethink the very idea of shelter in terms of forms of inclusion rather than prophylactic forms of exclusion.

"A wildly original and deeply fascinating book" 
– Thomas C.G. Bosch, scientist

"We the Bacteria turns architecture upside down, questioning the very foundations of the discipline established since Vitruvius." 
– Nikolaus Hirsch, Artistic Director of CIVA, Brussels 

"An alternative history of architecture"
– A Weekly Dose of Architecture

Author(s): Beatriz Colomina, Mark Wigley
Design: Lars Müller Publishers
11 × 18 cm, 4 ¼ × 7 in
352 pages, 319 illustrations
paperback
2025, 978-3-03778-783-0, English"]]]></description>
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    <link>https://yalereview.org/article/sheila-liming-the-end-of-books</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happened when a dumpster arrived behind my university's library"]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2026/05/on-warren-farha-cultural-renewal-and-the-too-few-bookish-places-where-they-happen/">
    <title>On Warren Farha, Cultural Renewal, and the (Too Few) Bookish Places Where They Happen - Front Porch Republic</title>
    <dc:date>2026-05-28T23:20:28+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/05/on-warren-farha-cultural-renewal-and-the-too-few-bookish-places-where-they-happen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I cannot imagine a better metaphor for, and a better invitation to, the forming and renewing of cultural connections and communities than bookish places."]]></description>
<dc:subject>russellarbenfox 2026 warrenfarha books reading eightdaybooks localism christianity religion bookstores booksellers wichita kansas eightdayinstitute ecumenism connectivity community donfossum lindabrummett</dc:subject>
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<item rdf:about="https://www.commonwealmagazine.org/montas-roosevelt-why-read-literacy-liberal-democracy-ai-douglass">
    <title>Why Read? | Commonweal Magazine</title>
    <dc:date>2026-05-12T04:18:46+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/montas-roosevelt-why-read-literacy-liberal-democracy-ai-douglass</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Deep reading, print culture & liberal democracy"]]></description>
<dc:subject>reading howweread deepreading print printculture liberaldemocracy democracy rooseveltmontás politics books frederickdouglass humanity selfhood autonomy attention discipline self-discipline neilpostman frederickbailey freedom</dc:subject>
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    <title>My Mission: bookstore co-owner and poet, Josiah Luis Alderete</title>
    <dc:date>2026-05-09T15:44:50+00:00</dc:date>
    <link>https://missionlocal.org/2026/05/my-mission-medicine-for-nightmares-co-owner-and-poet-josiah-luis-alderete/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>josiahluisalderete 2026 oscarpalma themission missiondistrict sanfrancisco bookstores booksellers poetry literature northbeach alejandromujia robertovargas tânkhánhcao medicinefornightmares citylights jackkerouac allenginsberg culture oscarzetaacosta cherriemoraga daisyzamora ninaserrano tatianaluboviski-acosta leticiahernández-linares normanzelaya jaimecortez juanfelipeherrera franciscoalarcón cathyarellano chavelavargas townesvanzandt marionbrown juliocortázar jimmysantiagobaca claricelispector borges silvinaocampo gabo gabrielgarcíamárquez books barbarajanereyes gennylim marlonhacla fernandoflores yokotawada isabelzapata felisbertohernandez cherríemoraga ricardotavarez lawrenceferlinghetti</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=StrpSp8anQM">
    <title>Vicky Osterweil on Disney, Intellectual Property and Storytelling - YouTube</title>
    <dc:date>2026-05-03T19:43:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=StrpSp8anQM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, we’re featuring a recent, live interview that I did at Firestorm books with Vicky Osterweil, anarchist writer and worker, author of In Defense of Looting and more recently The Extended Universe: How Disney Killed The Movies and Took Over the World (Haymarket, 2026). Vicky is a member of the Collective of Anarchist Writers (CAW), and you can also find her on Bluesky and what she's thinking about what she's watching at Letterboxd.

During the chat Vicky talks about intellectual property and how it overlaps between entertainment and other elements like technology and medicine, the shaping and limiting effects IP has on popular culture and imagination, the film industry and more."

[See also:

"In Defense of Looting with Vicky Osterweil" (2021)
https://www.youtube.com/watch?v=qWxjrTRDbio

"In Defense of Looting with Vicky Osterweil This week we are getting the chance to air a conversation that I had with writer, anarchist, and agitator Vicky Osterweil about her recently published book  In Defense of Looting, a Riotous History of Uncivil Action published  (Bold Type Press, August 2020). We get to talk about a lot of different topics in this interview, how the book emerged from a zine written in the middle of the Ferguson Uprising of the summer of 2014, its reception by the far right and by comrades, her process in deciding what to include in this book, the etymology of the word “loot” and ensuing implications thereof, why you should totally transition if that’s the right thing for you to do, and many more topics!"

and 

"The Interregnum: Roundtable with Vicky Osterweil" (2022)
https://www.youtube.com/watch?v=a3MRLe0Gcno

"This week we are pleased to present something a little bit new for TFS listeners. This is a kind of informal round table discussion that co host Scott and I had alongside Vicky Osterweil, who has been on the show before to speak on her book In Defense of Looting; A Riotous History of Uncivil Action. We all sat down to talk about a short and thought provoking article which was published in January of 2022 called “The Interregnum: The George Floyd Uprising, the coronavirus pandemic, and the emerging social revolution” which was published on the Haters Cafe and we will link to it in the show notes for anyone interested in reading it.

An interregnum is defined as being a period of discontinuity in a government, organization, or social order, and it typically points to time frames at which there isn’t a clear monarch or reigning body in a given place. This article points to the many ways the George Floyd uprising, the covid 19 pandemic, the rise of anti-work, and what the article calls the Great Refusal (a pivot from the ‘Great Resignation’ nomenclature of some mass media) have all created the conditions for a possible broadscale social revolution. Also stay tuned to the end of this episode where we chat briefly about what books we’re reading right now. We hope you enjoy this chat!

((note to listeners, I’m now using the name I use in real life for this radio project, which is Amar. It’s become more and more important to me to be as fully acknowledging of my culture and ethnicity as possible, and this is one way I’m choosing to do that))"]]]></description>
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<item rdf:about="https://aeon.co/essays/the-role-of-literature-as-the-key-to-personal-freedom">
    <title>The role of literature as the key to personal freedom | Aeon Essays</title>
    <dc:date>2026-04-26T06:57:44+00:00</dc:date>
    <link>https://aeon.co/essays/the-role-of-literature-as-the-key-to-personal-freedom</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stripped of easy moralising, literature makes us relish the search for truth in an age when many believe truth to be dead"]]></description>
<dc:subject>reading howweread literature 2026 freedom florachampy empathy proust johnruskin johnmilton books writing howwewrite rolandbarthes stanleyfish jacquesderrida newhistoricism newcriticism jonathanrose allanbloom haroldbloom emilyfinley janeausten patriciamatthew madamebovary gustaveflaubert percivaleverett kameldaoud marktwain elenaferrante paulbénichou victorhugo annelouisegermainedestël fiction rousseau readership christopherkelly charlesdickens émiledurkheim neigesinno hernandiaz values stories education marcelrpoust dostoevsky flaubert freud</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bf852a6b28fd/</dc:identifier>
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<item rdf:about="https://urubos.github.io/efa-site/">
    <title>Extrapolated Futures Archive</title>
    <dc:date>2026-04-22T03:49:17+00:00</dc:date>
    <link>https://urubos.github.io/efa-site/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mapping real-world scenarios to the science fiction stories that explored them first."

...

"📚 What is this site?

The Extrapolated Futures Archive is a reverse-lookup for speculative fiction. Describe a situation you are facing, and find the SF stories that already worked through the implications.

The catalog connects stories (novels, novellas, short stories, films) to the speculative ideas they explore: thought experiments about technology, governance, biology, society, and more. Every idea is tagged with domains, scenario types, and outcome types so you can filter by the kind of future you are thinking about.

How to use it:

• Search by title, author, synopsis keywords, or idea descriptions

• Filter by domain (AI, biotech, climate, space, governance...), scenario type, outcome, decade, or series

• Browse ideas to find transferable thought experiments, then follow links to the stories that explore them

• Browse stories to see what speculative ideas a particular work contains

• Book Club discussions (marked with 📖) offer section-by-section roundtable analyses by AI personas modeled on SF authors

• What-If Query (via the What-If Query page/link) lets you describe a real-world scenario in plain text and get ranked matching ideas

The archive is designed for decision-makers in government, industry, and NGOs who want to widen their thinking by surfacing fictional precedents for novel real-world challenges."

[via:
https://kottke.org/26/04/0048768-the-extrapolated-futures- ]]]></description>
<dc:subject>scific sciencefiction speculativefiction history books reference databases maps mapping stories</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:22feacc6e430/</dc:identifier>
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</item>
<item rdf:about="https://social.ayjay.org/2026/04/17/ordering-the-texts-for-my.html">
    <title>Ordering the books for my … | Alan Jacobs</title>
    <dc:date>2026-04-18T05:37:35+00:00</dc:date>
    <link>https://social.ayjay.org/2026/04/17/ordering-the-texts-for-my.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ordering the books for my classes … for the last time. (A solitary tear slides down my cheek.) All 19th and 20th century texts, which is somewhat unusual for me, but not altogether unrepresentative of what I do. The one book on the list I’ve never taught before is the Balzac.

    G. K. Chesterton, The Man Who Was Thursday (Modern Library: 9780375757914)
    Simone Weil, Waiting for God (Harper: 9780061718960)
    Dorothy L. Sayers, The Mind of the Maker (Harper: 9780060670771)
    C. S. Lewis, That Hideous Strength (Scribner: 9780743234924)
    Dietrich Bonhoeﬀer, Letters and Papers from Prison (Fortress: 9781506402741)
    Shusaku Endo, Silence (Picador: 9781250082244)
    W. H. Auden, Selected Poems (Vintage: 9780307278081)
    Balzac, Lost Illusions (Modern Library Classics: 9780375757907)
    Eliot, Middlemarch (Penguin: 9780141439549)
    Tolstoy, Anna Karenina (Oxford: 9780198748847)
    Dostoevsky, The Brothers Karamazov (Picador 9781250788450) 

One of those classes will include music, art, and film. So probably the last two things I’ll teach will be The Brothers Karamazov and Malick’s A Hidden Life."]]></description>
<dc:subject>alanjacobs syllabuses readinglists books 2026 gkchesterson simonweil dorothysayers cslewis dietrichbonhoeffer shusakuendo whauden tolstoy dostoevsky brotherskaramazov middlemarch annakarenina balzac terrencemalick georgeeliot</dc:subject>
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<item rdf:about="https://undark.org/2026/04/01/sweden-schools-books/">
    <title>Why Swedish Schools Are Bringing Back Books</title>
    <dc:date>2026-04-02T05:38:06+00:00</dc:date>
    <link>https://undark.org/2026/04/01/sweden-schools-books/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Amid declining test scores, the country has pivoted away from screens and invested in back-to-basics school materials."

[Also posted here:

"Sweden goes back to basics, swapping screens for books in the classroom
Sweden is bringing back books amid declining test scores."
https://arstechnica.com/science/2026/04/sweden-goes-back-to-basics-swapping-screens-for-books-in-the-classroom/ ]]]></description>
<dc:subject>sweden schools schooling education 2026 joshuacohen howweread howwewrite reading writing books analog digital paper technology textbooks screens digitallearning learning howeelearn us policy openai microsoft google ai artificialintelligence digitalfluency chatbots memory readingcomprehension pandemic covid-19 coronavirus computers computing tablets ipad jaredcooneyhorvath jonathanhaidt pamkastner literacy lindafälth teaching howweteach pedagogy naominbaron linguistics edtech distraction attention</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=n2t5Uv0-dT4">
    <title>Flea in conversation with Alex Cohen at Live Talks Los Angeles - YouTube</title>
    <dc:date>2026-03-31T09:12:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=n2t5Uv0-dT4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea in conversation with Alex Cohen at Live Talks Los Angeles discussing his memoir, "Acid for the Children."  Talk took place at the Aratani Theatre in Los Angeles on Dec 9, 2019."]]></description>
<dc:subject>flea 2019 alexcohen reading howweread rhcp redhotchilipeppers music writing howwewrite books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d4e2fce06aff/</dc:identifier>
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</item>
<item rdf:about="https://www.theatlantic.com/books/2026/03/alvaro-enrigues-wild-western/686241/">
    <title>Álvaro Enrigue’s Wild Western - The Atlantic</title>
    <dc:date>2026-03-30T06:54:19+00:00</dc:date>
    <link>https://www.theatlantic.com/books/2026/03/alvaro-enrigues-wild-western/686241/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Álvaro Enrigue’s Now I Surrender scraps the simplistic binary of cowboys and Indians in favor of a wild, multifaceted war story."]]></description>
<dc:subject>álvaroenrique carolinamiranda toread books literature fiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:35044d3547b6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:álvaroenrique"/>
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</item>
<item rdf:about="https://www.instagram.com/reel/C8OK4RwRmqf/">
    <title>“booooooooooooks”. - Flea (@flea333) on Instagram</title>
    <dc:date>2026-03-29T17:29:36+00:00</dc:date>
    <link>https://www.instagram.com/reel/C8OK4RwRmqf/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["flea333 on June 14, 2024: “booooooooooooks”."

[books discussed:
There, There, by Tommy Orange
Wandering Star, by Tommy Orange
The Great Gatsby, by F. Scott Fitzgerald
The Bluest Eye, by Toni Morrison
The Age of Innocence, Edith Wharton

[he is wearing his F.P.Journe Octa Lune]

[via:

Flea wearing F.P.Journe Octa Lune
https://www.watchprosite.com/f.p.-journe/normally-i-couldn-t-give-a-hoot-about-what-celebrities-are-wearing-/9.1627931.16532211/ ]]]></description>
<dc:subject>flea reading howweread books tommyorange tonimorrison 2024 edithwharton fscottfitzgerald fpjourne watches rhcp redhotchilipeppers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:67db87a2b31d/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=suecLU2nN-w">
    <title>Red Hot Chili Peppers' Flea | JCCSF - YouTube</title>
    <dc:date>2026-03-29T17:27:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=suecLU2nN-w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Acid for the Children 
With Joel Selvin

Los Angeles street rat turned world-famous rock star Flea, the iconic bassist and co-founder of the Red Hot Chili Peppers, tells his fascinating origin story, complete with dizzying highs and gutter lows. In his new book, Acid for the Children, Flea offers a deeply personal and revealing tour of his formative years, spanning Australia, the New York City suburbs and, finally, Los Angeles. Hear about the experiences that forged him as an artist, a musician and a young man, and explore the gritty, glorious life of LA in the 1970s and ’80s, bursting with potential for fun, danger, mayhem and inspiration around every corner. It is here that young Flea, hoping to escape a turbulent home, found family in a community of musicians, artists and junkies who also lived on the fringe. He spent most of his time partying and committing petty crimes. But it was in music where he found a place to channel his frustration, loneliness and love. This left him open to the life-changing moment when he and his soul brother and partner-in-mischief came up with the idea to start their own band."]]></description>
<dc:subject>flea rhcp redhotcilipeppers 2019 writing howwewrite courage humility childhood howwethink books reading howweread literarture tonimorrison joelselvin process music loneliness love memoirs honesty reflection yearning jazz yukiomishima milesdavis punk hardcore sanfrancisco suffering pain hillelslovak aging aginggracefully reinvention dukeellington self-love prayer spirituality religion philosophy relationships intimacy meditation rimbaud thinking thoughtlessness enlightenment beauty art forgiveness happiness positivity resentment bitterness gratitude psychology literature</dc:subject>
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    <title>‘I study at an exclusive US college. We can’t drink, use wi-fi or leave during term’</title>
    <dc:date>2026-03-28T22:46:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hidden deep in the California desert is a university where internet is banned and students are taught the meaning of life. Ruby LaRocca reveals why she loves it"]]></description>
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<item rdf:about="https://www.bbc.com/news/entertainment-arts-50289879">
    <title>Why Flea's memoir ends as the Red Hot Chili Peppers begin</title>
    <dc:date>2026-03-28T06:02:40+00:00</dc:date>
    <link>https://www.bbc.com/news/entertainment-arts-50289879</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>flea 2019 rhcp redhotchilipeppers marksavage childhood music memoirs drugs books reading howweread education learning howwelearn anthonykiedis johnfrusciante hillel slovak silverlakeconservatoryofmusic</dc:subject>
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<item rdf:about="https://newrepublic.com/article/207659/non-fiction-publishing-threat-important-ever">
    <title>Nonfiction Publishing, Under Threat, Is More Important Than Ever | The New Republic</title>
    <dc:date>2026-03-26T06:43:11+00:00</dc:date>
    <link>https://newrepublic.com/article/207659/non-fiction-publishing-threat-important-ever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://social.ayjay.org/2026/03/25/paul-elie-in-societies-where.html

quoting:

"In societies where freedom is under threat, an informed citizen is countercultural and deep reading is an act of resistance. Just as protest and vigilance are essential, so is the ability to read and think. In a would-be autocracy, the autocrat aims to subsume our society’s particular narratives into his master narrative — in which his name fills the headlines, his voice and image dominate the broadcasts, and his airbrushed visage appears on the facades of government. To read a book, however, is to enter a narrative that stands outside the politics-and-media maelstrom. In a would-be autocracy, even a small bookstore — with hundreds of books, classic, recent, and current — is a space of contrary narratives, where truth is recognized as both essential and complicated."]]]></description>
<dc:subject>paulelie 2026 publishing books reading howweread counterculture autocracy truth society citizenship information narrative government politics media</dc:subject>
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<item rdf:about="https://notesfromasmallpress.substack.com/p/ai-slop-and-the-cultural-elite">
    <title>AI Slop and the Cultural Elite - by Anne Trubek</title>
    <dc:date>2026-03-24T20:45:51+00:00</dc:date>
    <link>https://notesfromasmallpress.substack.com/p/ai-slop-and-the-cultural-elite</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recently, Hachette recalled a novel because it had some AI content. The novel had been self-published before Hachette picked it up, and was wildly popular, garnering thousands of positive reviews in its original form.

I was reading about this on social media, where I then found a thread of well-known writers making fun of the prose in the book. They were really going at it, dissecting and laughing at the writing. It was, well, snobby.

The writing they were pillorying as bad, and AI generated, was the same prose that thousands of people had read and enjoyed. Those sentences were the same in the self-published version of the book as in the Hachette republication of it. 5,000 reviews on Goodreads alone, the majority positive. Those readers did not think the writing was bad.

What I saw playing out seemed a clear case of the ‘cultural elite’ (well-known literary authors who make the bestseller list—can’t get more culturally elite than that) asserting that what they deemed AI slop (whether or not it was AI is immaterial here) as bad writing, and, by extension, people who enjoyed such writing having bad taste in writing.

Calling something “AI slop” is now a way to signal one’s (good) taste.

And there we have it, our old friend Pierre Bourdieu taught us this well: deeming something AI slop shows your cultural superiority.. It is how people separate, and segregate, themselves into cultural class distinctions.

I’m not taking sides here, or making any points about Hachette, or using AI for writing, the legal ramifications, or any of the many utterly fascinating aspects of what’s going on that I absolutely will be writing about more soon.

However, I am observing that a book that thousands of young women read and loved, part of a genre of books that hordes of young women are reading and loving, while everyone else cries about a reading crisis, is being branded “AI slop” and in “bad taste” by the tastemakers of the publishing industry/literary world.

It’ll be fascinating to see what happens next to the insanely popular and profitable romantasy, romance, horror, and other genes that have been selling hand over fist, in self-published and traditionally published form, keeping publishers and bookstores afloat, if this sort of self-sorting continues. And, as this piece on Cultural AI puts so beautifully [https://www.argmin.net/p/cosma-shalizi-is-aware-of-all-internet ];

[screenshot:

"The formulaic generation of discourse looks like discourse in ways we could never have imagined. But with hindsight, we shouldn't be surprised. Human culture is very formulaic!

There are long-standing formulas for oral tradition, for generating small talk, or for generating scientific papers. As Cosma put it, in the single sentence that summarizes the entire Cultural Al conference:

> Following a tradition means not having to think for oneself.

Not having to think is often a good thing!

Tradition lets us externalize certain processes so we can focus on other tasks. Formalities strengthen cultural connections. Traditions in communication help us understand each other better and come to consensus faster."]

In other words: ‘AI slop’ = wine-dark sea. "]]></description>
<dc:subject>ai annetrubek artificialintelligence aislop books elitism culture culturalelite literature writing howwewrite 2026 publishing generativeai genai oraltradition howwethink reading howweread thinking humans discourse tradition communication consensus</dc:subject>
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<item rdf:about="https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/">
    <title>Place, Personhood, and the Hippocampus: The Fascinating Science of Magnetism, Autonoeic Consciousness, and What Makes Us Who We Are – The Marginalian</title>
    <dc:date>2026-03-24T19:54:17+00:00</dc:date>
    <link>https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two."]]></description>
<dc:subject>via:javierarbona 2026 mariapopova wayfinding mro'connor place books magnetism senses consciousness identity personhood space selfhood science rebeccasolnit navigation clocks biology nature time animals multispecies morethanhuman migration timekeeping nonhuman birds insects human humans memory experience perception sleep brain hippocampus véroniquebohbot neurology being waysofbeing topophilia spatial canon indigenous indigeneity waysofsensing sensing land location knowledge neuroscience bodies embodiment language</dc:subject>
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</item>
<item rdf:about="https://www.iskrabooks.org/">
    <title>Iskra Books</title>
    <dc:date>2026-03-23T06:52:50+00:00</dc:date>
    <link>https://www.iskrabooks.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Iskra Books is a non-profit, independent, scholarly press specializing in original works of revolutionary theory, practice, and art; serving peoples' liberation movements since 2017.

We excel in the publication of intellectually rigorous, visually appealing, and accessible books and print media."]]></description>
<dc:subject>books revolution theory practice liberation politics history</dc:subject>
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<item rdf:about="https://thestorygraph.com/">
    <title>The StoryGraph | Because life's too short for a book you're not in the mood for</title>
    <dc:date>2026-03-13T06:01:30+00:00</dc:date>
    <link>https://thestorygraph.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A fully-featured Amazon-free alternative to Goodreads
StoryGraph is the all-in-one platform for your bookish needs."]]></description>
<dc:subject>onlinetoolkit reading howweread books</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:530591eb328c/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=qcf5syA1MlE">
    <title>The Left Doesn’t Hate Technology with Gita Jackson - YouTube</title>
    <dc:date>2026-03-13T05:21:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qcf5syA1MlE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paris Marx is joined by Gita Jackson to discuss why the left’s hatred of AI is justified, why a different approach to technology is necessary, and how they’re reassessing their own relationships with digital tech.

Gita Jackson is a co-founder of Aftermath (https://aftermath.site ).

Also mentioned in this episode:
     
• Gita wrote about why the left doesn’t hate technology (https://aftermath.site/anthropic-claude-ai-leftist-technology/ ).

• Gita also wrote about downloading digital music (https://aftermath.site/digita-audio-player-snowsky-echo-mini-fiio-hyby/ ) onto a Snowksy Fiio Echo Mini.

• Chris Person wrote about the  Boox Palma eReader (https://aftermath.site/i-love-my-weird-little-phone-shaped-ereader/ )  as an alternative to Kindle.

• Learn more about Mike Pondsmith (https://blackgirlnerds.com/from-cyberpsychos-to-netrunners-here-is-the-story-of-mike-pondsmith-the-true-mastermind-behind-cyberpunk/ ) and his Cyberpunk TTRPG.

• Gita will one day get Paris to watch Frieren (https://www.crunchyroll.com/series/GG5H5XQX4/frieren-beyond-journeys-end ) ."

[references:

"The Left Doesn't Hate Technology, We Hate Being Exploited
Techno-cynics are all just wounded techno-optimists."
https://aftermath.site/anthropic-claude-ai-leftist-technology/ ]]]></description>
<dc:subject>gitjackson parismarx technology left 2026 luddism neoluddism luddites neoluddites ai artificialintelligence llms technooptimism technocynicism exploitation generativeai openai anthropic claude chatgpt consolidation samaltman society hsr highsspeedrail publicgood mrna vaccines vaccinations medicine siliconvalley aibubble aihype capitalism corporations corporatism qanon ereaders eink boox chrisperson automation speculation infrastructure datacenters chatbots labor work seamusblackley business games gaming videogames xbox microsoft google uber lyft nfts crypto cryptocurrencies evil policy power bigtech oracle gemini gmail linux music spotify streaming china netflix piracy airbnb taxis jeffbezos billionaires gigeconomy billgates edwardsnowden peterthiel scale scaling slow small benshapiro cryptofascism donaldtrump slavery humans human humanity humanism government liberals liberalism grantmorrison agi butlerianjihad smarthphones walledgardens howweread reading books resistance search attention algorithms libraries</dc:subject>
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</item>
<item rdf:about="https://circeinstitute.org/blog/2011-04-why-bother-with-books/">
    <title>Why Bother With Books?</title>
    <dc:date>2026-02-24T18:17:30+00:00</dc:date>
    <link>https://circeinstitute.org/blog/2011-04-why-bother-with-books/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via this thread:
https://micro.blog/ablerism/84924274

"Eeyore recommends What we think is a decline in literacy is a design problem | Aeon Essays [https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem ] for those still worrying about demon screens instead of demon AI.

As someone who has come to love e-readers, despite some problems outlined by Warren Farha [links to this article], I substantially agree."]]]></description>
<dc:subject>2011 warrenfarha print books reading howweread ebooks ereaders</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6affcc150b8a/</dc:identifier>
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Barrio Logan is a place with a strong pulse that has been kept beating by generations of Chicanx & Indigenous people.

We are grateful to be part of a community that takes care of one another and values Art, storytelling and resistance as strongly as we do. 

Collectively we are invested in pouring in resource, love, guidance, time into our youth and the next generations."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your inability to focus isn’t a failing. It’s a design problem, and the answer isn’t getting rid of our screen time"]]></description>
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    <title>Make yourself at home – Unsung</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a nice way iOS Safari behaves the moment you tap one of the font size buttons – it immediately ejects all the other chrome:

[GIF]

After Liquid Glass specifically, we seem to be going through an interesting re-evaluation of whether “the content is the king; it should feel expansive and UI should get out of the way at all costs,” so seductive as a principle, is ultimately the right approach. Liquid Glass-sporting operating systems have so many contrast and blending and distraction issues that I wonder if they alone are radicalizing people, making them appreciate traditional rigid toolbars with solid backgrounds and fortified borders.

But here? Here letting contents shine and putting the UI atop feels like the absolutely right thing to do, since you are redesigning your reading experience.

Contrast this with Books:

[GIF]

It’s not even that the crossfaded transitions feel awkward. It’s mostly that the interface takes up so much room that the content preview slice becomes almost claustrophobic. And it’s even weirder when you tap the Customize button, and whatever was visible gets inexplicably replaced by a pop-up with… largely the same content anyway.

How will the entire page feel? For that you have to use your imagination – or keep tapping back and forth."]]></description>
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    <title>Recommended Reading: An Incomplete List Of Watch Resources For Readers And Collectors</title>
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    <dc:date>2026-02-16T03:40:13+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["What I learned when I finally started assigning the hard reading again."]]></description>
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<item rdf:about="https://countercraft.substack.com/p/surfs-up-in-slop-city">
    <title>Surf's Up in Slop City - by Lincoln Michel - Counter Craft</title>
    <dc:date>2026-02-16T00:25:40+00:00</dc:date>
    <link>https://countercraft.substack.com/p/surfs-up-in-slop-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How should authors navigate a world with disappearing books coverage and a rising flood of AI slop books?"]]></description>
<dc:subject>books reading howweread wapo washingtonpost lincolnmichel 2026 reviews ai artificialintelligence aislop slop adammorgan seandelone alexanderalter writing howwewrite generativeai coralhart internet web online media literature authorship humanism llms human humans bookreviews genai</dc:subject>
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<item rdf:about="https://asteriskmag.com/issues/12-books/the-dream-of-the-universal-library">
    <title>The Dream of the Universal Library—Asterisk</title>
    <dc:date>2026-01-22T05:52:15+00:00</dc:date>
    <link>https://asteriskmag.com/issues/12-books/the-dream-of-the-universal-library</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Internet promised easy access to every book ever written. Why can’t we have nice things?"]]></description>
<dc:subject>internet libraries 2026 monicawestin books reading howweread kevinkelly web online michaelgorman google googlebooks digitization llms digitaloptimism digital 2006 2004 copyright licensing 1997 2015 law legal internetarchive</dc:subject>
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<item rdf:about="https://www.experimental-history.com/p/text-is-king">
    <title>Text is king - by Adam Mastroianni - Experimental History</title>
    <dc:date>2026-01-21T07:46:11+00:00</dc:date>
    <link>https://www.experimental-history.com/p/text-is-king</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have one more gripe against the “death of literacy” hypothesis, and against Walter Ong, the Jesuit priest/English professor whose book Orality and Literacy provides the intellectual backbone for the argument.

Most of the differences between oral and literate cultures are actually differences between non-recorded and recorded cultures. And even if our culture has become slightly less literate, it has become far more recorded.

As Ong points out, in an oral culture, the only way for information to pass from one generation to another is for someone to remember and repeat it.4 This is bit like trying to maintain a music collection with nothing but a first-generation iPod: you can’t store that much, so you have to make tradeoffs. Oral traditions are chock full of repetition, archetypal characters, and intuitive ideas, because that’s what it takes to make something memorable. Precise facts, on the other hand, are like 10-gigabyte files—they’re going to get compressed, corrupted, or deleted.

Writing is one way of solving the storage problem, but it’s not the only way, and we use those other ways now more than ever. Humans took an estimated 2 trillion photos in 2025, and 20 million videos get uploaded to YouTube every day. No one knows how many spreadsheets, apps, or code files we make. Each one of these formats allows us to retain different kinds of information, and it causes us to think in a different register. What psychology is unlocked by Photoshop, iMovie, and Excel?

There is something unique about text, no doubt, and I’m sure a purely pictographic, videographic, or spreadsheet-graphic culture would be rather odd and probably dysfunctional. But having more methods of storage makes us better at transmitting knowledge, not worse, and they allow us to surpass the cognitive limits that so strongly shape oral culture.

Put another way: hearing a bard recite The Iliad around a campfire is nothing like streaming the song “Golden” on YouTube. That bard is going to add his own flourishes, he’s going to cut out the bits that might offend his audience, he’s probably going to misremember some stanzas, and no one will be able to fact-check him. In contrast, the billionth stream of “Golden” is exactly the same as the first. Even if people spend less time reading, it is impossible to return to a world where every fact that isn’t memorized is simply lost. I don’t believe we are nearly as close to a post-literate society as the critics think, but I also don’t believe that a post-literate society is going to bear much resemblance to a pre-literate society."]]></description>
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<item rdf:about="https://www.mcsweeneys.net/articles/a-q-a-with-tucker-nichols-and-mcsweeneys-art-director-sunra-thompson-about-the-new-book-mostly-everything-the-art-of-tucker-nichols">
    <title>McSweeney’s Books: A Q&amp;A with Tucker Nichols and McSweeney’s Art Director Sunra Thompson about the New Book, Mostly Everything: The Art of Tucker Nichols - McSweeney’s Internet Tendency</title>
    <dc:date>2026-01-13T16:54:13+00:00</dc:date>
    <link>https://www.mcsweeneys.net/articles/a-q-a-with-tucker-nichols-and-mcsweeneys-art-director-sunra-thompson-about-the-new-book-mostly-everything-the-art-of-tucker-nichols</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tuckernichols books art 2025 creativity sunrathompson publishing artmaking artmarket</dc:subject>
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<item rdf:about="https://www.theatlantic.com/ideas/2026/01/reading-crisis-solution-literature-personal-passion/685461/">
    <title>Reading Is a Vice - The Atlantic</title>
    <dc:date>2026-01-13T16:18:52+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2026/01/reading-crisis-solution-literature-personal-passion/685461/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Being a reader means cultivating a relationship with the world that, by most standards, can seem pointless and counterproductive."

[archived:
https://archive.ph/AB22k

via:
https://social.ayjay.org/2026/01/13/adam-kirsch-telling-someone-to.html

quoting:

<blockquote>Telling someone to love literature because reading is good for society is like telling someone to believe in God because religion is good for society. It’s a utilitarian argument for what should be a personal passion.

It would be better to describe reading not as a public duty but as a private pleasure, sometimes even a vice. This would be a more effective way to attract young people, and it also happens to be true. When literature was considered transgressive, moralists couldn’t get people to stop buying and reading dangerous books. Now that books are considered virtuous and edifying, moralists can’t persuade anyone to pick one up.</blockquote>]

"If you read a book in 2025—just one book—you belong to an endangered species. Like honeybees and red wolves, the population of American readers, Lector americanus, has been declining for decades. The most recent Survey of Public Participation in the Arts, from 2022, found that fewer than half of Americans had read a single book in the previous 12 months; only 38 percent had read a novel or short story. A recent study from the University of Florida and University College London found that the number of Americans who engage in daily reading for pleasure fell 3 percent each year from 2003 to 2023.

This decline is only getting steeper. Over the past decade, American students’ reading abilities have plummeted, and their reading habits have followed suit. In 2023, just 14 percent of 13-year-olds read for fun almost every day, down from 27 percent a decade earlier. A growing share of high-school and even college students struggle to read a book cover to cover.

Educators and policy makers have been agonizing about this trend line for decades, but they haven’t managed to change it. Now some are trying a new tactic: If people won’t read books because they enjoy it, perhaps they can be persuaded to do it to save democracy. The International Publishers Association, which represents publishers in 84 countries, has spent the past year promoting the slogan “Democracy depends on reading,” arguing that “ambitious, critical, reflective reading remains one of the few spaces where citizens can rehearse complexity, recover attention and cultivate the inner freedoms that public freedoms require.”

The problem with these kinds of arguments isn’t that they are wrong; it’s that they don’t actually persuade anyone to read more, because they misunderstand why people become readers in the first place. Telling someone to love literature because reading is good for society is like telling someone to believe in God because religion is good for society. It’s a utilitarian argument for what should be a personal passion.

It would be better to describe reading not as a public duty but as a private pleasure, sometimes even a vice. This would be a more effective way to attract young people, and it also happens to be true. When literature was considered transgressive, moralists couldn’t get people to stop buying and reading dangerous books. Now that books are considered virtuous and edifying, moralists can’t persuade anyone to pick one up.

One of my strongest early memories of reading comes from fifth grade, when I was so engrossed in a book that I read right through a spelling test without noticing it was happening. I remember this incident partly because I was afraid I would get in trouble. But I think the real reason it stays in my memory after 40 years was the feeling of uncanniness. The time that had passed in the classroom had not passed for me; in a real sense I was in another world, the world of the book.

Being a reader means cultivating a relationship with the world that, by most standards, can seem pointless and counterproductive. Reading is not profitable; it doesn’t teach you any transferable skills or offer any networking opportunities. On the contrary, it is an antisocial activity in the most concrete sense: To do it you have to be alone, or else pretend you’re alone by tuning out other people. Reading teaches you to be more interested in what’s going on inside your head than in the real world.

Anyone who was a bookish child could probably tell a similar story to mine. Marcel Proust tells one in Swann’s Way, the first volume of his epic novel In Search of Lost Time, when he writes about reading on summer afternoons in the country and not hearing the church bell.

<blockquote>Sometimes it would even happen that this precocious hour would sound two strokes more than the last; there must then have been an hour which I had not heard strike; something which had taken place had not taken place for me; the fascination of my book, a magic as potent as the deepest slumber, had stopped my enchanted ears and had obliterated the sound of that golden bell from the azure surface of the enveloping silence.</blockquote>

In this passage, the ability to fall so deeply under the spell of a book seems like a blessing. But as the novel goes on, Proust’s narrator shows that his sensitivity to books—and later to music and art—is an expression of the same qualities that make him unfit for life and relationships. He is so susceptible to the poetry of place names that when he visits the actual places, he is always disappointed. His hyperawareness of what is going on inside his mind makes him an egotist; other people exist for him as providers of emotional stimuli, not as real individuals with their own minds and desires.

As a rule, if you’re looking for evidence that reading makes you a better world citizen, the last place you’ll find it is the work of great writers. They know too much about literature to idealize it the way educators do. In fact, some of the greatest novels are about how reading ruins lives—starting with the book often considered the first modern novel, Don Quixote. Cervantes’s comic hero is addicted to “reading books of chivalry,” until “his fancy grew full of what he used to read about in his books, enchantments, quarrels, battles, challenges, wounds, wooings, loves, agonies, and all sorts of impossible nonsense.” Convinced that he is a character in a novel—which, of course, he is—he embarks on a series of knightly adventures that go laughably and pathetically wrong.

Centuries later, the heroine of Gustave Flaubert’s novel Madame Bovary makes the same mistake, with more tragic consequences. Emma Bovary is addicted to reading—Flaubert writes that, as a teenager, she “made her hands dirty with books from old lending libraries.” When she gets married and finds that she doesn’t love her husband the way novels had led her to expect, she turns to adultery “to find out what one meant exactly in life by the words felicity, passion, rapture, that had seemed to her so beautiful in books.” But what is beautiful in books turns out to be ugly in life, and Emma’s attempt to live like the heroine of a romance ends in ruin and suicide.

After Madame Bovary was published, in 1856, its frank depiction of sexual immorality got Flaubert prosecuted in Paris for obscenity. He was acquitted, and the attempt to censor the novel only made it more popular, just as would happen in the 20th century with Ulysses and Lady Chatterley’s Lover. Today, all of these books are considered classics, which means that most of us encounter them only in the classroom, as objects of dutiful study.

If we want to keep reading from going extinct, then the best thing we could do is tell young people what so many great writers readily admit: Literature doesn’t make you a better citizen or a more successful person. A passion for reading can even make life more difficult. And you don’t cultivate a passion for the sake of democracy. You do it for the thrill of staying up late to read under the covers by flashlight, unable to stop and hoping no one finds out."]]></description>
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<item rdf:about="https://www.sanfranciscoisdead.com/">
    <title>San Francisco is Dead</title>
    <dc:date>2026-01-13T03:38:39+00:00</dc:date>
    <link>https://www.sanfranciscoisdead.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing is happening in San Francisco. All the artists are dead. There are no books being made here. The world’s best bookstores are not here. There are no readings, no music venues, no art galleries, no libraries, no orchestras, no museums, no festivals that involve pianos in botanical flower gardens, and no food. There are definitely not poetry readings or theaters or handmade modernist saunas with views of the Golden Gate Bridge. There is absolutely no culture. Don’t even think about moving, or even visiting, here. It’s really terrible. If you do come, you will regret it. If you already live here, like we do, our sincere condolences.

“San Francisco Is Dead” is a free event calendar compiled by the editors of McSweeney’s, an independent nonprofit publishing house based in San Francisco. McSweeney’s publishes three magazines (McSweeney’s Quarterly, The Believer, Illustoria), a daily humor website, and an intrepid list of distinctive books of many genres. You can buy all of these things from our online store. You can also support us today by making a donation."

[via:

"San Francisco: Dead and loving it
A new listings site from McSweeney’s doesn’t quite prove that nothing ever happens in this city"
https://sf.gazetteer.co/san-francisco-dead-and-loving-it
https://archive.ph/Ahcg2 ]]]></description>
<dc:subject>sanfrancisco mcsweenys events libraries bookstores calendars humor music museums festivals books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:72bdde01c007/</dc:identifier>
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<item rdf:about="https://slate.com/culture/2020/02/charles-portis-obit-true-grit-norwood-masters-atlantis-gringos.html">
    <title>Charles Portis, author of True Grit and Norwood, was the funniest American novelist since Mark Twain.</title>
    <dc:date>2026-01-05T22:36:06+00:00</dc:date>
    <link>https://slate.com/culture/2020/02/charles-portis-obit-true-grit-norwood-masters-atlantis-gringos.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2020 kalebhorton charlesportis writers books obituary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c5b7900c6c02/</dc:identifier>
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</item>
<item rdf:about="https://aworkinglibrary.com/writing/thingness">
    <title>Thingness | A Working Library</title>
    <dc:date>2026-01-03T06:32:37+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/thingness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am thinking again about this notion of “self-sameness” that Byung-Chul Han talks about in The Disappearance of Rituals. He writes:

<blockquote>For Hannah Arendt it is the durability of things that gives them their “relative independence from men [sic].” They “have the function of stabilizing human life.” Their “objectivity lies in the fact that…men, their ever-changing nature notwithstanding, can retrieve their sameness, that is, their identity, by being related to the same chair and the same table.” In life, things serve as stabilizing resting points. (Han, The Disappearance of Rituals, page 3)</blockquote>

The table does not change—at least, it does not change at any time scale that is noticeable to the human who sits before it. I do not need to pay attention to the table, because nothing is happening with it that requires or even asks my attention. I can simply trust it. I can turn around and turn back, and even with my eyes on something else, I can reach for it and know it will be there, exactly where I left it.

Screens, of course, lack any such sameness or stability. Screens are inconstant, unsame, unstable. A screen demands my attention—not only via the regular chirping of notifications, as hungry and unrelenting as a baby bird—but through that fundamental inconstancy: I know something may have changed since I last looked at it, know I cannot trust it to remain the same, to be steady or faithful. I must be vigilant towards a screen, always on alert, suspicious.

And vigilance is exhausting.

I will not add to the discourse about how we should spend less time with screens; you are as familiar with those patterns and arguments as anyone. I want to suggest instead that turning away from screens is turning towards something else. It is not an absence but a presence, not an empty hand but one with a hold on something solid and true.

That is, a politics of refusal must be more than a closed door; it must be both a closing and an opening, both rejection and invitation. The refusal must contain its alternative, the other paths, the thing you are turning to while you turn away. And what you turn to must have that stabilizing presence, that thingness, the restfulness of something you can trust. A rock that fits into your palm, a notebook, a bowl, a tree, a trail through the woods, a book (always a stack of books), a table, the chairs around it scraping the floor as your kin sit down to join you."]]></description>
<dc:subject>2025 mandybrown hannaharendt byung-chulhan vigilance ritual rituals things thingness ux objectivity screens presence absence refusal trust notebooks books objects invitation rejection substance familiarity patterns</dc:subject>
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<item rdf:about="https://www.openculture.com/2026/01/woody-guthrie-creates-a-doodle-filled-list-of-33-new-years-resolutions-1943.html">
    <title>Woody Guthrie Creates a Doodle-Filled List of 33 New Year’s Resolutions (1943): Beat Fascism, Write a Song a Day, and Keep the Hoping Machine Running | Open Culture</title>
    <dc:date>2026-01-02T01:50:24+00:00</dc:date>
    <link>https://www.openculture.com/2026/01/woody-guthrie-creates-a-doodle-filled-list-of-33-new-years-resolutions-1943.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On January 1, 1943, the American folk music legend Woody Guthrie jotted in his journal a list of 33 “New Years Rulin’s.” Nowadays, we’d call them New Year’s Resolutions. Adorned by doodles, the list is down to earth by any measure. Family, song, taking a political stand, personal hygiene—they’re the values or aspirations that top his list. You can click the image above to view the list in a larger format. Below, we have provided a transcript of Guthrie’s Rulin’s.

1. Work more and better
2. Work by a schedule
3. Wash teeth if any
4. Shave
5. Take bath
6. Eat good — fruit — vegetables — milk
7. Drink very scant if any
8. Write a song a day
9. Wear clean clothes — look good
10. Shine shoes
11. Change socks
12. Change bed cloths often
13. Read lots good books
14. Listen to radio a lot
15. Learn people better
16. Keep rancho clean
17. Dont get lonesome
18. Stay glad
19. Keep hoping machine running
20. Dream good
21. Bank all extra money
22. Save dough
23. Have company but dont waste time
24. Send Mary and kids money
25. Play and sing good
26. Dance better
27. Help win war — beat fascism
28. Love mama
29. Love papa
30. Love Pete
31. Love everybody
32. Make up your mind
33. Wake up and fight"]]></description>
<dc:subject>woodyguthrie newyear self-improvement 1943 2018 2026 life living presence optimism health resistance hope reminders doodles howwewrite lists writing fruit work howwework time reading howweread books love relationships radio clothing drinking alcohol hygiene</dc:subject>
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<item rdf:about="https://dirt.fyi/article/2025/12/the-interspecies-library">
    <title>Digital culture and entertainment insights daily: The Interspecies Library</title>
    <dc:date>2025-12-20T03:34:32+00:00</dc:date>
    <link>https://dirt.fyi/article/2025/12/the-interspecies-library</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>oscarsalguero michellesantiagocortés collections collecting multispecies interspecies libraries books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.dacapopress.com/titles/jean-luc-godard/godard-on-godard/9780306802591/">
    <title>Godard On Godard by Jean-luc Godard | Da Capo</title>
    <dc:date>2025-12-16T05:42:20+00:00</dc:date>
    <link>https://www.dacapopress.com/titles/jean-luc-godard/godard-on-godard/9780306802591/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself-his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history."]]></description>
<dc:subject>jean-lucgodard books film frenchnewwave filmmaking cahiersducinéma alfredhitchcock tommilne richardroud annettemichelson jeanrenoir robertbresson ingmarbergman françoistruffaut orsonwells</dc:subject>
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<item rdf:about="https://buttondown.com/monteiro/archive/how-to-get-through-cold-wet-dreary-days/">
    <title>How to get through cold, wet, dreary days • Buttondown</title>
    <dc:date>2025-12-08T00:40:54+00:00</dc:date>
    <link>https://buttondown.com/monteiro/archive/how-to-get-through-cold-wet-dreary-days/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week’s question comes to us from Jim Christensen:

How do you get through cold, wet, dreary days?

Last week was pretty great. It was Thanksgiving weekend, which is historically the beginning of human hibernation. At least on my particular half of the planet—which as we all know—but because it is 2025 I feel like it’s important to say in print—is round. The Northern half of the planet—again, round—tilts away from the sun so that the Southern half can have its moment of warmth. Which means it gets colder, and the days get shorter, and—depending on where in the Northern half you live—some form of wetness starts falling from the sky. The scientific term for this is dreary. Shit gets dreary. For some of us dreary begets a state of less activity, which for some of us also begets depression. Which is awesome. (It’s not awesome.)

Let me also take the time to admit that I am a total baby about the weather. Because even though I was raised in Philadelphia, where we spent the winter wearing thermal underwear, snow was sometimes measured in feet, and spring was welcomed by the smell of winter dogshit thawing along everyone’s sidewalk, I’ve now lived in California long enough that when I say that it was very cold last week I mean that it was in the low 50s. I can now function at full capacity only within a narrow ten degree band between 60 and 70 degrees. Anything outside that band is either too cold or too hot. In fact, last Wednesday I woke up shivering, turned on the heat and wrapped myself in a blanket because it felt like the end of days and then I checked the weather to find out it was 54º. Jesus wept, in a light sweater.

In our defense, our houses are drafty and tend not to have central heat. Just a giant brown space heater, installed in the 30s, and jutting out of that thing in our Victorian living room that maybe used to be a fireplace. Also, we are technically in the middle of the Pacific Ocean, which is great in the summer, but not so great in the winter. So while the temperature might not reflect it, it’s a cold that gets in your bones and tends to linger in there.

Anyway, last week was cold. For us. My truth is my truth.

Thanksgiving aside (because it was a whole thing in and of itself) I spent the majority of the long weekend, sitting in our library reading. I turned the little heater on, put on some nice calming music, and sat there reading for hours. Erika joined me for a lot of it, and we just sealed ourselves off from the world, which is currently not just cold, but awful. Turns out reading is a great way to deal with cold, wet, dreary days.

When I was a kid, my dad would hang plastic sheeting over the windows in the living room. The kind of sheeting you heat up with a hair dryer to get it nice and taut. He’d hang the same kind of sheeting across the doorway to the living room as well, but without the hair dryer. Then he’d turn off the heaters in the rest of the house. (I think I’ve written about this before.) My parents couldn’t afford to heat the whole house in the winter. (And by whole house I mean a rowhome in the Olney neighborhood.) Our options for staying warm were either to be in the living room, in the kitchen with the oven on, or in bed fully clothed under the covers. Which is the option I usually took, because it also granted me solitude. And safety. Safety was at a higher premium than heat growing up. So I’d get in bed and read.

And at the risk of falling into the old cliché of reading providing an escape from everything going on around me as a kid, there’s a reason why it’s a cliché. Reading did exactly that. And the escape that reading provides is anything but allegorical, it is real. As a kid, reading provided me with the lessons parents were supposed to impart. Reading provided me with escape options. Goals. Heist plans. Reading provided me with proof that other ways of living were possible. Reading provided me with proof that people could love each other. Reading provided me with proof that other people had risen from far worse circumstances than me, which is a really important lesson to a kid who only knows the circumstances they’re growing up in. Reading gave me the triangulation I needed to realize where I fit into humanity which was basically “this sucks, but there’s a way out and you can do it.”

I read books for the same reason people buy guns—to feel safe at home.

Our apartment has a library. It’s a room in the center of the house. And there are bookshelves along all four walls. And those bookshelves overflow with books. The room is obviously a fort. With all four walls fortified by the safety of books. Thick enough to muffle outside sounds. Thick enough to keep the room warm. Thick enough to throw at intruders. Thick enough to serve as a barrier from what’s cold, what’s wet, and what’s dreary. A library as a safe room. (It’s not lost on me that I’ve created an insulating layer against the cold, much as my father did when we were kids. I’m pointing this out for myself before my therapist does.)

Every book is an escape hatch to transport me to a place that’s safer, but even more importantly—every book is a recipe book for making our current place safer. Every book is filled with lessons both allegorical and practical that we can apply to our own life in the here and now. Sometimes they jump out at you, sometimes they plant a seed that takes a little bit to germinate and it hits you a bit later. And that’s ok.

I have never regretted a minute I spent reading.

My friend Annalee Newitz, who’s an amazing writer, likes to say that they don’t write dystopias or utopias. They write topias. Because every place is both, in some amounts. And that rings true. Because even in our current hellscape, which most of us would describe as dystopian, there are moments and places where we create little pockets of something close to utopian. Places that feel safe. Places where we go, not to hide, but to reload. Places where we go to plot, to learn, to explore possibilities. Places that help us get through the cold, wet, dreary days.

There is a reason fascists ban books and not guns. Guns are a tool for one thing, books are tools for everything.

I am lucky to have a place where I can go to get past the cold, wet, dreary days. So many people don’t. And that number climbs every day, as our topia tips in the wrong direction. We all deserve to have a place like that. And I am happy that I’ve been able to fill that place with books that make me feel safer and have within them the clues needed to tip things in a better direction. We all deserve to feel safe like that. And I am happy that I’m able to take the time, when I need it, to sit and learn, and stew, and plot. And we all deserve time for that, too. Most of all, I am happy that this room has two chairs, so that as winter—both real and allegorical—washes over us, I am reminded that the second chair is there because love is real.

I read it in books."]]></description>
<dc:subject>mikemonteiro 2025 reading howweread winter cold books annaleenewitz utopia dystopia sanfrancisco place</dc:subject>
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<item rdf:about="https://www.nieblasf.com/">
    <title>Niebla | Niebla SF (ES)</title>
    <dc:date>2025-12-01T20:44:06+00:00</dc:date>
    <link>https://www.nieblasf.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["¿Quiénes somos?

Niebla es una librería que busca crear comunidad alrededor de la lectura. El catálogo es un mosaico compuesto por editoriales, en su mayoría independientes, que hacen un trabajo importantísimo promoviendo voces nuevas y clásicas de Latinoamérica y sus diversos entrecruces.
San Francisco ya lee en español

Nuestra misión es darle espacio a la palabra impresa en esta realidad sobredigitalizada sumándonos al ecosistema librero de San Francisco, además de amplificar y diseminar puntos de vista expresados a través de los libros. Creemos que la literatura alimenta espíritus y que las conversaciones entre diferentes voces son necesarias para lograr una convivencia más empática.
Por el gusto de compartir libros

Leer es un placer y aunque en muchas ocasiones es un viaje solitario,también nos interesa enfatizar su lado social a través de presentaciones, círculos de lectura y discusiones a partir de y sobre libros.

Ya sea que leas vorazmente, casualmente o que sientas curiosidad por la literatura, esperamos que este espacio polifónico te invite a disfrutar y dialogar con nuevas y fascinantes voces."

[See also:
https://www.instagram.com/niebla.sf/

via:
https://missionlocal.org/2025/12/sf-tenderloin-buzz-matcha-market-bookstore/

"Niebla Librería, a Spanish language bookstore, plans to open in January with a collection focused on original writing from Latin America, as well as works in translation.

After some time hosting pop-up shops, Niebla will settle in at 374 Golden Gate Ave. They have four booksellers, one of whom is a cat named Fausto."]]]></description>
<dc:subject>sanfrancisco books bookstores booksellers spanish español literature translation tenderloin cats</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://direct.mit.edu/books/monograph/3356/MechanismsNew-Media-and-the-Forensic-Imagination">
    <title>Mechanisms: New Media and the Forensic Imagination, by Matt G. Kirschenbaum (2007) | Books Gateway | MIT Press</title>
    <dc:date>2025-11-30T22:31:11+00:00</dc:date>
    <link>https://direct.mit.edu/books/monograph/3356/MechanismsNew-Media-and-the-Forensic-Imagination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new “textual studies” and archival approach to the investigation of works of new media and electronic literature that applies techniques of computer forensics to conduct media-specific readings of William Gibson's electronic poem “Agrippa,” Michael Joyce's Afternoon, and the interactive game Mystery House.

In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage—the hard drive in particular—arguing that understanding the affordances of storage devices is essential to understanding new media. Drawing a distinction between “forensic materiality” and “formal materiality,” Kirschenbaum uses applied computer forensics techniques in his study of new media works. Just as the humanities discipline of textual studies examines books as physical objects and traces different variants of texts, computer forensics encourage us to perceive new media in terms of specific versions, platforms, systems, and devices. Kirschenbaum demonstrates these techniques in media-specific readings of three landmark works of new media and electronic literature, all from the formative era of personal computing: the interactive fiction game Mystery House, Michael Joyce's Afternoon: A Story, and William Gibson's electronic poem “Agrippa.”"]]></description>
<dc:subject>mattkirschenbaum newmedia storage computing computers reading howweread writing howwewrite electronicliterature literature 2007 michaeljoyce forensics computerforensics williamgibson mysterhouse games gaming videogames personalcomputing books objects text platforms systems devices mechanism affordances interactivefiction if</dc:subject>
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<item rdf:about="https://medium.com/adams-notebook/collections-d7428dfafc6b">
    <title>Collections. I’m not a collector. Except for books… | by Adam Roberts | Adam’s Notebook | Medium</title>
    <dc:date>2025-11-24T20:01:02+00:00</dc:date>
    <link>https://medium.com/adams-notebook/collections-d7428dfafc6b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://blog.ayjay.org/malocchio/ ]]]></description>
<dc:subject>collections collecting adamroberts 2022 craftsmanship critique art books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7ec0787e0dbb/</dc:identifier>
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<item rdf:about="https://sf.gazetteer.co/the-original-movable-type">
    <title>The original movable type</title>
    <dc:date>2025-11-11T18:08:51+00:00</dc:date>
    <link>https://sf.gazetteer.co/the-original-movable-type</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A visit to the San Francisco Center for the Book where the presses never stop"

[archived:
https://archive.ph/YcDRD ]

"On a recent rainy afternoon at The San Francisco Center for the Book, Yvonne Yeh stood before a steel press the size of a small deli counter. She detected the slightest bit of movement between the letters in her press bed, so she added small pieces of metal to the grouping to correct it. Using a T-shaped key, she tightened an expandable and locking mechanism called a quoin to further squeeze the letters together.

Her adjustment complete, Yeh fed a piece of paper onto the press and turned a crank, sending the sheet around a printing cylinder as the press applied pressure. The result in blue, the first of three colors she would use, was a test-run of the poster that read: “strength is the clarity of connection between mind & body.”

The mood in the studio was contemplative, and quiet, except for the plinking sound of people rummaging through letters, the clanking of pieces of wood used to keep the letters in place (also called furniture), and the clicking sounds of the old, metal printers. Letterpress can be time-consuming, even tedious. For those reasons, Yeh said, it’s also uniquely rewarding.

“It feels really handmade,” Yeh said. “It just feels effortful, and so it feels like I’m putting in this care and attention to make this gift for people that I’ve spent a significant amount of time with.”

Located in Potrero Hill, on DeHaro St. between 16th and 17th Streets, the Center for the Book offers workshops in art, bookbinding, and risograph. The studio is lined with about 600 drawers containing thousands of pieces of lead and wood typeface (also called sorts) in various fonts and sizes. Letterpress users were plucking out the pieces and carefully setting them into trays (called a chase), and tightening and tapping them into place with a wooden planer to form words and sentences.

To create a press bed for even a simple cooking recipe can take hours. Letterpress is often printed on thick paper, which leaves an impression of the letters that you can feel. The finished pieces have a heft and permanence. Spend enough time with them, and they also have a personality, revealed through pleasing imperfections that you don’t get from work that slides out of computer printers or copiers.

For letterpress creators at the Center, the main attraction is the Vandercook No. 4 cylinder press that Yeh was using. Manufactured early in the 20th century, the Chicago-based company stopped making the presses in 1976, though a shop in Silverton, Colorado, NA Graphics, still sells their parts and supplies. The Center has seven of these elegant workhorses.

“I wanted to do something that was more tactile, with my hands,” Yeh told me. “As we  move towards an increasingly digital world, there’s a lot of excitement lost, and everything is so easy.” Letterpress, she said, “feels like returning back to the way things were done before, and gaining respect for effort.”

Yeh’s efforts were being overseen by her instructor, Thea Sizemore, who operates her own letterpress shop called Kavamore Press, which she operates out of an old grocery store in Berkeley.

“Everything that you’re using has been used before, and you’re kind of part of that lineage,” Sizemore said of the hardware, which she also fixes as a mechanic. The machines’ idiosyncrasies, the imperfections in the lead or wooden typeface, reflect their histories, she said.

As Sizemore assisted Yeh with her poster, a piece of damaged type (a letter “a”) failed to pick up the ink. Yeh had to loosen the tray and replace the letter, prompting Sizemore to point out a benefit of using lead: the disruptive “a” could be melted down, and reformed as a new letter.

The Center, which has operated in San Francisco since 1996, also offers instruction in binding books. The nonprofit earns about 40%  of its revenue from workshops like Experience Letterpress! Posterized, and Freestyle Printing on the Vandercook, said David Owens-Hill, the Center’s executive director. The remaining 60% is made up of contributions from individuals, companies, foundations, and government grants.

“The book arts community is very strong in the Bay Area, and on the West Coast generally,” Owens-Hill said. “It’s a large community, and they’re very generous.”

“We are not a museum, we are a functioning print studio,” said Chad Johnson, the studio director. The oldest of the Center’s presses came to San Francisco at the end of the 19th century during an earlier boom following the Gold Rush.

“This is heavy equipment, so once it was out here, no one was sending it back to Cleveland or Chicago,” Johnson said. “Everything that landed here, stayed here.”

Vandercook presses can cost up to $20,000, but all of the Center’s presses have been donated. “We’re just really fortunate to have it all here,” especially because there’s no replenishing source for them, Johnson said. “My joke is, not only do they not make them like they used to, they don’t make them.”"]]></description>
<dc:subject>joelreosenblatt 2025 sanfrancisco books bookmaking letterpress history yvonneyeh davidowens-hill theasizemore bookbinding dentistry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://slate.com/life/2025/10/school-books-reading-literacy-crisis-common-core.html">
    <title>Whole books in school: Today's curriculum makes reading seem so boring.</title>
    <dc:date>2025-11-07T17:17:27+00:00</dc:date>
    <link>https://slate.com/life/2025/10/school-books-reading-literacy-crisis-common-core.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You can’t get better at reading until you care about a text."

[via:
https://2ndbreakfast.audreywatters.com/the-ketchup/ ]]]></description>
<dc:subject>books reading literacy howweread johannawinant dandinykin 2025 curriculum howweteach teaching howwelearn learning text</dc:subject>
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<item rdf:about="https://hechingerreport.org/proof-points-shanahan-leveled-reading/">
    <title>Why one reading expert says 'just-right' books are all wrong</title>
    <dc:date>2025-11-07T17:16:24+00:00</dc:date>
    <link>https://hechingerreport.org/proof-points-shanahan-leveled-reading/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a new book, researcher Timothy Shanahan argues that giving students easy texts is holding back US reading achievement"

[via:
https://2ndbreakfast.audreywatters.com/the-ketchup/ ]]]></description>
<dc:subject>reading books children literacy pedagogy howweteach teaching education howweread 2025 jillbarshay timothyshanahan learning howwelearn</dc:subject>
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<item rdf:about="https://bsky.app/profile/vivschwarz.bsky.social/post/3m43jied7cs24">
    <title>Post by Viviane Schwarz (Viv Schwarz) @vivschwarz.bsky.social on Bluesky</title>
    <dc:date>2025-11-02T19:18:29+00:00</dc:date>
    <link>https://bsky.app/profile/vivschwarz.bsky.social/post/3m43jied7cs24</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to read a book a day as a child. Spent as much time in the library after school as I could add a teenager. I read loads of stories, eventually. But the first books I really wanted to read were dictionaries, craft books and non fiction. https://www.vivianeschwarz.co.uk/the-best-place-in-the-world/

The first story books I was interested in reading were the ones that had recipes, instructions, maps worked in. Things I recognised as "information", things I felt I could "get out" of the book, apply to reality.
‪
Story books I loved as a child: A book about cowboy who made up a new bit of song about every adventure, musical notation at the back so one could sing it.
A book that featured a machine and there was a blueprint of it included. 
An adventure book with instructions for getting out of a locked room
‪
Yes, I also appreciated good writing, but first of all I loved stories that gave me something I could think about applying to my own world quite literally. Some of those were from free little magazines you'd get at the shoe shop or pharmacy. That was my way in.
‪
And the most amazing books were illustrated non fiction on a theme. THE MICROSCOPE was probably my favourite, with hand rendered bacteria and cell structures that were as beautiful as the real thing, more beautiful than photographs. Instructions for slide-making that involved razor blades and ink
‪
And all those dinosaurs. Is there a more complete love than one may feel as a child reading an illustrated book about dinosaurs, loving every bone of them, cherishing every minute of their lives, accepting their fossilized giant bird shits and even their very departure with fierce love.
‪
And don't forget the instruction manuals for board games. The IKEA leaflets describing in detail the angular blossoming of furniture. Do not tell me those joys of reading are lesser than opening a classic children's book one is given without curiosity demanding it right then.
‪
There must be substrate for curiosity to grow from where it's at to where it may go.

Telling a child that what they're reading is worthless won't encourage them to pick up your favourite kind of thing instead."

[via:
https://buttondown.com/perfectsentences/archive/perfect-sentences-149/ ]]]></description>
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<item rdf:about="https://thebaffler.com/issues/no-81">
    <title>no. 81—After Words</title>
    <dc:date>2025-10-31T21:43:04+00:00</dc:date>
    <link>https://thebaffler.com/issues/no-81</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Issue no. 81
After Words
October 2025

The history of literacy is a list of complaints. Critics reliably decry each new technological development as an attention-stealing toy. Before recent grousing about ChatGPT, protestations were uttered about the detrimental effects of the internet (fearing endless distraction, Jonathan Franzen destroyed his laptop’s ethernet port); the word processor (the ease of moving text around declared “an irresponsible whimsicality” by Alexander Cockburn in the eighties); the typewriter (“The noise will destroy your sense of rhythm,” wrote C. S. Lewis, in 1959, to a schoolgirl requesting writing advice); and the very reproducibility of the book (Song-era scholar Ye Mengde held that woodblock texts too often propagated uncorrected errors). In Plato’s Phaedrus, writing itself is suspect, as the literate “will not practice using their memory because they will put their trust in writing.” Amid the breathless techno-optimist awe of artificial intelligence—and ahistorical dismissal of its novelty—it is easy to forget that the current crises of reading and writing are unprecedented in degree, but not in kind. “After Words” considers what’s actually different about today’s information overload and whether we’ve been postliterate for far longer than we’d like to believe.

“Under the conditions of high technology, literature has nothing more to say,” Friedrich Kittler wrote, but that lofty moment was in the eighties, and the fin de siècle of the written word had yet to give way to the twenty-first century’s incessant logorrhea—a second age of orality, Noah McCormack explains, the Homeric epic replaced by short-form video content and podcasting. (Brace Belden reports from the latter industry, a heady mix of dick-pill ads and Kamala Harris interviews.) Whatever heights our devices have reached, McCormack warns, do not succumb to a technological determinism that ignores class. Accordingly, the siren song of Ms. Rachel cannot be understood outside of America’s ongoing impoverishment of families, writes Sophie Pinkham, lamenting the YouTuber’s death grip on toddler attention spans, to the detriment of the world of books. More than laudable, however, is Ms. Rachel’s vocal support for Palestine. As Bruce Robbins writes in his account of the Sokal affair some thirty years on, the occupation is also a uniting cause between the physicist and the editors of the magazine he so famously hoaxed.

Often falling short of such political demands, our literati may indeed have little to say, as Chris Lehmann points out in his survey of the Trump novel. (If the MFA lifestyle has failed you, consider, as the protagonists of Jess Row’s short story do, assassinating a war criminal.) Andrew Leland contemplates how deaf artists and writers are grappling with a second Trump administration keen on dismantling the Americans with Disabilities Act. Looking outside the imperial core, non-anglophone writers hailing from South Korea to Mexico join a forum on brain rot across the globe. Domestically, Mina Tavakoli writes on the devolution of American culture into chaotic slop over the past twenty-five years—a descent made graphic by Michael Oswell in the issue’s exhibit.

Where does the reader find respite, then? One possible path, though usually maligned: video games, at least in the case of Disco Elysium, the Estonian blockbuster built upon a novel that exceeds said book as a literary experience, as Gabriel Winslow-Yost argues. In it, more than a million words evoke both postrevolutionary melancholy and communist fervor for a more just world, as experienced by an amnesiac cop with the DTs. Call it harm reduction of the digital variety: if we’re to be addicted to our devices, let us be bound to something better on our screens.

Table of Contents

Intros and Manifestos

Screen Sick
Matthew Shen Goodman
https://thebaffler.com/intros-and-manifestos/screen-sick-shen-goodman

Salvos

We Used to Read Things in This Country
The history of literacy is the history of class
Noah McCormack
https://thebaffler.com/salvos/we-used-to-read-things-in-this-country-mccormack

Speak and Sell
Ms. Rachel and the disappearing world of books
Sophie Pinkham
https://thebaffler.com/salvos/speak-and-sell-pinkham

American Gothics
The failures of the Trump novel
Chris Lehmann
https://thebaffler.com/salvos/american-gothics-lehmann

Belittled Magazine
Thirty years after the Sokal affair
Bruce Robbins
https://thebaffler.com/salvos/belittled-magazine-robbins

Manual Labor
A new generation of deaf writers reimagines language, text, and sound
Andrew Leland
https://thebaffler.com/salvos/manual-labor-leland

The World’s Memory of the World
Disco Elysium and its fictions
Gabriel Winslow-Yost
https://thebaffler.com/salvos/the-worlds-memory-of-the-world-winslow-yost

Outbursts

The Hatred of Podcasting
Talking has finished off writing
Brace Belden
https://thebaffler.com/outbursts/the-hatred-of-podcasting-belden

Blank Generation
A manual for the millennial perennial
Mina Tavakoli 
https://thebaffler.com/outbursts/blank-generation-tavakoli

Odds and Ends

Brain Rot Without Borders
Dispatches from a postliterate world
https://thebaffler.com/odds-and-ends/brain-rot-without-borders-forum

Did You Know?
Michael Oswell
https://thebaffler.com/odds-and-ends/did-you-know-oswell

Poems

The Song of Other Things, Rafil Kroll-Zaidi
https://thebaffler.com/poems/excerpt-from-the-song-of-other-things-kroll-zaidi

Tongue Delirium, Jenny Xie
https://thebaffler.com/poems/tongue-delirium-xie

Top Ten Reasons to Dislike List Poems, Ry Cook
https://thebaffler.com/poems/top-ten-reasons-to-dislike-list-poems-cook

Self vs Rogue Island, Sawako Nakayasu
https://thebaffler.com/poems/self-vs-rogue-island-nakayasu

Glass Octopus, Matthew Zapruder
https://thebaffler.com/poems/glass-octopus-zapruder

Stories

The Assassination of Henry Kissinger
I was wondering if you had a date in mind
Jess Row
https://thebaffler.com/stories/the-assassination-of-henry-kissinger-row "]]></description>
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    <title>Speak and Sell | Sophie Pinkham</title>
    <dc:date>2025-10-31T21:34:03+00:00</dc:date>
    <link>https://thebaffler.com/salvos/speak-and-sell-pinkham</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ms. Rachel and the disappearing world of books"]]></description>
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    <title>The World’s Memory of the World | Gabriel Winslow-Yost</title>
    <dc:date>2025-10-31T21:31:07+00:00</dc:date>
    <link>https://thebaffler.com/salvos/the-worlds-memory-of-the-world-winslow-yost</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Disco Elysium and its fictions"]]></description>
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    <title>Digital culture and entertainment insights daily: Recluse books</title>
    <dc:date>2025-10-22T02:15:27+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["We don't do coffee—we want the books to be the thing."]]></description>
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    <title>Face to Face Book | Martí Guixé</title>
    <dc:date>2025-10-18T02:44:24+00:00</dc:date>
    <link>https://corraini.com/en/face-to-face-book.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an age where relationships are becoming relentlessly virtual and friendship seems to be a concept limited to social networks, with Face to face book, Martí Guixé invites us to physically discover each other again, sitting face to face.

To interact, to look at each other in the face, to draw each other.

Martí Guixé’s books are never just books: they are playfully provocative, amusing dialogues with the reader-drawer in which the game becomes food for thought.

Once again Martí Guixé invites us to experiment, without taking risks, and to follow the rules of our own originality with a new amusing, ironic “DIY” book."]]></description>
<dc:subject>martíguixé 2024 books interaction drawing socialnetworks presence slow small relationships friendship</dc:subject>
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<item rdf:about="https://musgrave.substack.com/p/a-post-literate-society-is-a-too">
    <title>A Post-Literate Society is a Too-Literal Society</title>
    <dc:date>2025-10-15T05:55:58+00:00</dc:date>
    <link>https://musgrave.substack.com/p/a-post-literate-society-is-a-too</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["when people say that it is the job of college professors to keep students engaged but that we can also not ban devices, I want to sigh performatively—how, exactly, am I supposed to keep them hooked when Hollywood can’t keep them hooked? Even on my very best days, which are very good, I am just not able to supply the methadone equivalent to salve nervous systems addicted to endless novelty and engagement, and denying that we are facing a planetary crisis of concentration while expecting us to soldier on stoically is not helping."]]></description>
<dc:subject>teaching howweteach attention performance entertainment education edutainment 2025 paulmusgrave yaslop ya engagement reading howweread redditt socialmedia online internet web tiktok audience samkriss text print books ethics humans human humanism humanities novelty hollywood film media</dc:subject>
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<item rdf:about="https://duncanspeakman.net/catalogue/imhbdbt/">
    <title>It Must Have Been Dark By Then - duncanspeakman.net</title>
    <dc:date>2025-10-15T05:15:55+00:00</dc:date>
    <link>https://duncanspeakman.net/catalogue/imhbdbt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It Must Have Been Dark by Then is a book and audio experience that uses a mixture of evocative music, narration and field recording to bring you stories of changing environments, from the swamplands of Louisiana, to empty Latvian villages and the edge of the Tunisian Sahara. Unlike many audio guides, there is no preset route, the software builds a unique map for each person’s experience. It is up to the participant to choose their own path through the city, connecting the remote to the immediate, the precious to the disappearing.

In January and February 2017 Duncan Speakman travelled with collaborators across three countries on three continents, visiting environments that are experiencing rapid change from human and environmental factors. What he created on his return is somewhere between a travel journal and a poetic reflection on connection, progress and memory. The experience asks the listener to seek out types of locations in their own environment, and once there it offers sounds and stories from remote but related situations. At each location the listener/reader is invited to tie those memories to the place they are in, creating a map of both where they are right now and of places that may not exist in the future."]]></description>
<dc:subject>location audio location-based via:javierarbona duncanspeakman 2017 books ebooks audiobooks experience place audioguides connection progress memory maps mapping environment listening latvia tunisia 2024</dc:subject>
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    <title>The REAL Reason Trump and Big Tech Want AI in Our Schools - YouTube</title>
    <dc:date>2025-10-11T01:51:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=aByWLQ7h2n0</link>
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Silicon Valley has sold the idea of tech in classrooms for years, because they get access to lifelong customers and valuable data.

But while corporations like Google make billions, student test scores are falling."]]></description>
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    <title>Animal Memoirs Gone Wild - Orion Magazine</title>
    <dc:date>2025-10-03T16:58:18+00:00</dc:date>
    <link>https://orionmagazine.org/article/animal-memoirs-gone-wild/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What we can learn from more domestic forms of intimacy with nature"]]></description>
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</item>
<item rdf:about="https://lithub.com/how-to-be-a-good-literary-citizen-in-seven-easy-steps/">
    <title>How to Be a Good Literary Citizen (in Seven Easy Steps) ‹ Literary Hub</title>
    <dc:date>2025-09-26T05:41:00+00:00</dc:date>
    <link>https://lithub.com/how-to-be-a-good-literary-citizen-in-seven-easy-steps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Last Sunday I spent hours at the Brooklyn Book Festival, a too rare occasion for me to pull myself away from the internet for an entire afternoon. As I looked around at the crowd on their way to panels or checking out indie press booths, I was reminded that, even if it doesn’t always seem apparent from looking at news headlines, there are many, many of us out there: people who care about books and culture and their community in general.

The previous weekend I had gone to Cleveland to give a talk about literary citizenship. It’s an amorphous kind of concept, often changing with the moment, but needed more than ever today when  corporate interests have a stranglehold on the arts, literary institutions are being devastated by the cancellation of NEA grants, and the freedom to read is under attack. As people who care, and if you’ve read this far I suspect you care, I figured we could all use a refresher on how to be a good literary citizen. Below you’ll find my top seven tips on how you can help make a difference.

*

Show up.
The most important rule of literary citizenship is to show up. Showing up can mean a number of things: attending events at your local bookstore or library, volunteering at local literacy organizations, putting books in your neighborhood’s Little Free Library. Any time you can get face to face contact with members of your community is a win. But showing up online also counts! Subscribing to publications you enjoy is showing up you can do from afar. Do what you’re able…

Buy books.
Amazon avoidance is Literary Citizenship 101. It’s better for authors and booksellers and your own community if you’re able to shop local. But I understand that I am immensely lucky to have more than one excellent indie bookstore near my home. If not you still have options. For physical books and ebooks, Bookshop.org is the place to go, as is Libro.fm for audiobooks. Both stores share profits with independent bookstores. If you’re looking for used books, choose Thrift Books over Abe Books, which is owned by Amazon. Or simply request a copy from your library. That absolutely counts.

Talk about books you love.
If you’re perpetually online, like I am, you might be used to sarcasm as a primary method of communication. But enthusiasm is key for literary citizenship. Give yourself permission to enjoy things. And remember that being earnest is best; when you’re just cheerleading or going through the motions people likely will know. Better to spend your time shouting out the writing that makes your heart sing.

Read widely.
Now we’re getting a little more advanced. If you’re an avid reader, seek variety in the kinds of books you read. This means being aware of who publishes the books you read, and seeking out independent publishers along with books from the major corporate publishers. It means reading books in translation, reading fiction and nonfiction and poetry. I promise the world will feel bigger the more widely you read, more filled with possibility.

Authors: don’t gatekeep.
This tip is for authors: remember to hold the door open. Success in the book world is not a zero-sum game. Being generous to other writers elevates everyone. This might mean blurbing other writers’ books or even just praising them on social media, volunteering to read for literary prizes, or even sharing information about how the famously opaque world of publishing works.

Remember that authors are people.
Most authors don’t earn a living from writing books. Their names may appear on books but 99.9 percent of them are not mega celebrities. So yes, please post about books and don’t hold back. But if you really go off on a book that you really didn’t like, don’t tag the author in your post. Make it so they have to look for negative reviews, to self-Google and constantly check their Goodreads page. That’s about them, not you. On the flip side, if you loved a book, let the author know. Fan mail is underrated.

Support librarians.
Even as their jobs continue to be devalued, it’s important to keep in mind that there are many intelligent people who are paid to be knowledgeable about books and book culture. Let’s help them out by volunteering at your local libraries or donating to them, and by vowing to fight book bans. Banned Books Week is in October. Get involved.

Be a good regular citizen.
Talk to your neighbors. Help them when they need help. Fight ICE, contribute to mutual aid organizations, participate in local elections (including school board ones) as well as federal ones.

I’m a lifelong reader and a longtime observer of the book world and publishing industry, but I don’t have all of the answers. Literary citizenship is a collaborative process.I want to keep listening and learning. So please sound off in the comments if you’d like to add your own tips."]]></description>
<dc:subject>howweread reading books 2025 mariskreizman libraries bookstores</dc:subject>
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<item rdf:about="https://ratsfromrocks.substack.com/p/eat-my-shorts-4-malice-models-malingering">
    <title>Eat My Shorts 4 / Malice, Models, Malingering, Malick</title>
    <dc:date>2025-09-26T04:15:52+00:00</dc:date>
    <link>https://ratsfromrocks.substack.com/p/eat-my-shorts-4-malice-models-malingering</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Standing up to bullies in order to bully; contra Hanania on "great books"; my one weird trick; wasted words on "Knight of Cups" and "Tree of Life""

...

"Mechanical reproduction didn’t reduce the importance of aura because context matters to humans. Rationalists tend to assume that this is due to mistakes in reasoning or pathetic preoccupations with status and signaling, but it’s also possible that there is either in theory or in fact information and knowledge embedded in such context that’s valuable to others."]]></description>
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<item rdf:about="https://jasmi.news/p/mills-baker">
    <title>infinite cornucopia (ft. mills baker)</title>
    <dc:date>2025-09-26T01:33:38+00:00</dc:date>
    <link>https://jasmi.news/p/mills-baker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["literacy crisis, humans vs. LLMs, parenting after AGI"

[on YouTube:
https://www.youtube.com/watch?v=KcO6-1tFi88

"Today’s podcast features the brilliant and singular Mills Baker. Formally, he’s the Head of Design at Substack, where we met, and also fallibilist, New Orleanian, and OG blogger extraordinaire. 

Among other things, we discuss:

0:00:32 is text dead?
0:26:00 the case for novels + incel lit
0:45:12 debating LLMs vs. human cognition
1:01:44 parenting for a post-AGI world
1:08:44 reasons for & against writing
1:20:05 girardian scapegoating

Transcript: https://jasmi.news/p/mills-baker "]]]></description>
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</item>
<item rdf:about="https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/">
    <title>Why AI Narrators Will Never Be Able to Tell a Real Human Story ‹ Literary Hub</title>
    <dc:date>2025-09-16T04:18:36+00:00</dc:date>
    <link>https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Verner Explores the Uncanny Valley of Automated Audiobooks"]]></description>
<dc:subject>2025 ai artificialintelligence adamverner audiobooks books storytelling human humans humanism narrative narration voice humanvoice intention audible capitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31841387b4fa/</dc:identifier>
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<item rdf:about="https://maxread.substack.com/p/who-is-elara-voss">
    <title>Who is Elara Voss? - by Max Read - Read Max</title>
    <dc:date>2025-08-07T22:23:12+00:00</dc:date>
    <link>https://maxread.substack.com/p/who-is-elara-voss</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["tings from Read Max! In todays’s newsletter, two items:

1. An exploration of “Elara Voss,” a mysterious figure haunting megaplatforms and L.L.M.s, and

2. a genealogy of Stomp Clap Hey, occasioned by discourse regarding the band “Edward Sharpe and the Magnetic Zeroes.”"]]></description>
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    <title>It’s telling how telling a telling can be | Are.na Editorial</title>
    <dc:date>2025-07-25T01:06:13+00:00</dc:date>
    <link>https://www.are.na/editorial/its-telling-how-telling-a-telling-can-be</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>luizadale howweread reading howwewrite books form format 2025 coritakent sistercorita design graphics graphicdesign marginalia philipmeggs miltonglaser audreybennett sylviaharris typography information organization margins text desirepaths footnotes culture culturalbiases glossaordinaria commentary notes notetaking bible genevabiblecalvinistbible print edwardgibbon clutter hermanmelville barrymoser johnupdike jamesjoyce finneganswake endnotes danielleaubert ursulaleguin thedispossessed jennyboully essaypress writing nicholsonbaker themezzanine perception jordyrosenberg frasermuggeridge layout mobydick moby-dick georgesperec desirelines elephantpaths ursulakleguin</dc:subject>
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<item rdf:about="https://www.atlasobscura.com/articles/cyoa-choose-your-own-adventure-maps">
    <title>These Maps Reveal the Hidden Structures of 'Choose Your Own Adventure' Books - Atlas Obscura</title>
    <dc:date>2025-07-23T06:24:41+00:00</dc:date>
    <link>https://www.atlasobscura.com/articles/cyoa-choose-your-own-adventure-maps</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you decide to see more, click on this story."

[previously bookmarked:
https://pinboard.in/u:robertogreco/b:4356ce43ef27 ]]]></description>
<dc:subject>cyoa interactivefiction if 2017 sarahlaskow books dataviz infographics datavisualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:126fb7abb7d8/</dc:identifier>
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<item rdf:about="https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good">
    <title>Interdependence - Gabriela Jauregui - Elective Affinities for the Common Good</title>
    <dc:date>2025-07-18T04:27:06+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Insurgentes subway station is one of the main arteries in the beating heart of Mexico City. Located in the Juarez neighborhood, every month, one million people use this subway station as part of their commutes. It is where an epic battle between punks and emos took place in the early 2000s.

It is one of the neighborhoods that is most affected by earthquakes. It is where the local shoe-shine guy, the lady who delivers tupperware meals to office workers, and the man who sits as a security guard in one of the many parking lots, come to work after hours-long commutes, along with thousands of others every day. It is also home to Aeromoto, or “airquake,” named after the earthquakes that shake the city, but also avant-garde Chilean poet Vicente Huidobro’s prose poem “Sky-Quake” (1931). Aeromoto started off as an idea: a lending library in a newsstand, where people who work in the neighborhood could come off the subway, borrow a book for a few hours, read it during their workday, and return it on their way back home.

But the amount of bureaucracy to open a newsstand in Mexico is staggering. So instead, Aeromoto began in 2014 as a storefront on the aptly-named Calle Venecia, which floods during the rainy season. The space initially housed the one thousand books that Maru Calva, Mauricio Marcín, Macarena Hernández, and Jerónimo Rüedi had in their shared archive. Most were about or related to contemporary art, because that’s what they were all interested in or working on. Throughout the years, however, the collection has grown. But it all started with a revolutionary question: “Why should all these books be sitting on shelves in my house if I don’t even believe in private property?” Mauricio continued: “It’s not like they’re dead books. They’re just not being used, read, opened.” Everyone else agreed: it made no sense.

To begin, Maru, Mauricio, Macarena, and Jerónimo pooled some money together and took a carpentry workshop to build shelves. The spirit was very DIY during a moment when many art spaces were sprouting around the city, so Aeromoto inserted itself in a web of affinities and interdependencies. “Slowly, our collection started growing. This was a time when many small presses were starting in the city, and we became a house for ‘books without ISBNs,’ as we called them,” recalls Macarena. “It was really great to be able to buy books that I wouldn’t have bought for myself, like some really obscure performance art books, for example. I felt like a real librarian then,” adds Maru. Most of the art schools and schools in general were lacking art-related books, so they thought this could become a resource for students as well. “We wanted all the neighbors to come. We wanted it to be a neighborhood thing,” says Maru. But when they had their official opening, only one neighbor came. “We even had free mezcal and many flavors of water,” Maru laughs.

Calle Venecia was a universe unto its own. There was a used-clothing store, so many young people would walk by. Mauricio remembers, “Silvia, our front-door neighbor was a Mexican Muslim who used to bake and sell fresh pita bread for a living. She later converted to Christianity.” “The one neighbor who came to our grand opening was an old painter. He came because he thought we could sell his paintings,” adds Maru. They all laugh as they share these stories. Their nemesis back then was Araceli, the next-door neighbor who wanted to park her car and not have people reading books and hanging out in a makeshift garden in the street. But Aeromoto wanted to occupy public space, “to practice the commons.” “We were anti-object. We didn’t want to become an exhibition space. We only wanted books, printed matter. And nothing was for sale, ever,” explains Mauricio. Not even the enthusiastic neighbor’s paintings.

Friendship has been ever-present in everything that happens at Aeromoto. It all started with a group of friends, and the events were organized from an ever-expanding circle of friendships. Hanging out and making it a space for pleasure is at the core of Aeromoto. Maru, Mauricio, Macarena, and Jerónimo dedicate special care to the relationships that come from affection, and the affection that flows from new friendships. Aeromoto is also a space for play, expanding the definition of what a public art library can be and what our relationship with books can mean. Humor and spontaneity have guided them through years of fluctuating sources of income. Aeromoto has been self-funded, sought public grants, asked people to pay around fifteen dollars to become members for a year (half if you’re a student), and sold old donated atlases at the neighborhood second-hand bookstore to pay for office supplies. Everything is creatively solved. If they need pots for plants, they invite a friend to do a pottery workshop. The reading garden was made together with about three dozen people, old and young. From the very beginning, the idea was to make Aeromoto a space to do things that didn’t rely on buying things. “We also wanted to celebrate the handmade, different crafts, and making things ourselves with what’s at hand,” Maru explains.

Slowly, Aeromoto became an oasis in the busy neighborhood. When I first visited back in 2015, the first thing I noticed was the plants on the street that delineated a small perimeter (where, if one were like Araceli, one might be tempted to park one’s car), and a few chairs to sit in. At some point, someone took Aeromoto’s founding disdain for private property to heart and “liberated” their garden chairs. But even misfortune was taken in stride and with good humor. More chairs soon reappeared. The whole thing felt like a situationist prank, a haven for idleness and leisure.

Back then, the space was very unusual. Although plants and chairs outside have now become common in Mexico City after the pandemic, they work in the opposite way as Aeromoto’s reading garden: restaurants have privatized public space, while Aeromoto morphed and occupied it. That first day I visited, I entered the garage-like space and noticed how cozy it felt with large reading tables, ideal for communal activities. There were posters on the walls, including one that stated “At Aeromoto nothing is for sale.” Another one read “Something wonderful is happening.” And books were everywhere. It was my idea of paradise. I ended up there through friendship: a friend of mine invited me to curate a selection of books from their collection, and also to bring some books of my own to lend. So I walked in, carrying a heavy load of books, some of which would stay there as donations, and others which would be a part of that month’s “book table” selection. I was part of an independent collective press, and thanks to that invitation, Aeromoto now has a complete collection of all of our books.

They invited all kinds of people to do things, and all sorts of people came and proposed events. During “Infinite Pedagogies,” people would choose indispensable books for the library to buy with grant money. This was so moving to artist Abraham Cruzvillegas that he decided to sponsor a whole new “infinite pedagogy” section. In the stridentist trunk series, a library-goer and enthusiast who was an expert on the stridentist movement brought books, masks (now property of the Reina Sofía Museum), and stridentist paraphernalia. During “ethylic poetry” sessions, people would read poetry and get wasted on themed alcoholic beverages (caipirinhas while reading Brazilian concrete poetry; absinthe while reading the French accursed poets, and so on). Events called “Beauty Salons” featured people reading each other’s poetry in translation (now memorialized in a recently published bilingual anthology). There were also performances, printing workshops, presentations, punk concerts, experimental drawing sessions based on books from the collection, reading groups, study groups, activist circles, etc. There was anything and everything that would expand the definition of a public library.

Aeromoto has also changed and adapted over the years as its founders changed and their interests expanded. When Mau, Maru, and Macarena had children, they felt like they didn’t want to give up the time they have spent building community. So, their friend Paola Santoscoy, who was also a new mother, curated a series of “books to be read while breastfeeding”: books that are small and light enough to hold with one hand. “Aeromoto was a comfort for me as a new mom,” continues Maru. Everyone nods in agreement as they share how the space shifted, matured, and grew with them. There was mask-making for carnival and workshops for little ones. Pleasure and play continue to be the heart of the space. And so, no matter if it was twelve in the afternoon or late at night, there was always something going on. There was always coffee, tea, or a cold beer. There was always the possibility of an encounter.

At one point, the four friends decided they should hold a contest for Aeromoto to have a flag, to serve as a publicly visible indicator that “something is happening.” They held an open call, and the winning proposal was a koinobori, a flag shaped like a blue koi fish. The flag flew for a short time before the pandemic hit, during which time Aeromoto, like too many spaces, had to move out. As with every other time that things got hard and everyone was about to give up, someone would show up either with enough money or a new idea to keep things going. This time, Carolina Coppel and Catalina Urtubey, two friends and patrons, proposed to move Aeromoto to the second story of a seventeenth-century house right next to the Templo Mayor pyramid and museum on Seminario Street, in the heart of downtown Mexico City.

Anyone who has ever had to move with books knows what a pain this can be, but moving wasn’t as terrifying as expected because one of Aeromoto’s favorite activities is cataloging. The four friends came up with crazy categories like “books about books,” “Los claveles” (which plays on the word “clavel,” a pun on carnations but also people who are very deep into something), “water-damaged books,” and “revolutionaries,” to mention a few.

If there were already ghosts moving books out of their shelves and having fun at Aeromoto back on Venecia Street, their new location would prove to be an ideal haunt for the undead, the alive, and all kinds of spirits—for a couple of years anyway, before the rent would go up and Aeromoto would once again have to move, now to the San Miguel Chapultepec neighborhood, near the park. The book collection patiently awaits cataloging and reshelving at an artist-run space called Castillo de Chapultepec, which is run by longtime Aeromoto friends Willy González and Rodrigo Escandón. “Aeromoto is like quicksilver,” the four founders say. It can separate into little parts or join back together into a whole. And so once more, friendship is what binds Aeromoto together, keeps it afloat, and continuing to shake the Mexico City airwaves."]]></description>
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<item rdf:about="https://www.lrb.co.uk/the-paper/v47/n12/adam-mars-jones/selective-luddism">
    <title>Adam Mars-Jones · Selective Luddism: On Alan Garner</title>
    <dc:date>2025-07-14T22:16:03+00:00</dc:date>
    <link>https://www.lrb.co.uk/the-paper/v47/n12/adam-mars-jones/selective-luddism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://social.ayjay.org/2025/07/14/adam-marsjones-childrens-books-revisited.html

quoting:
"Children’s books revisited in later life may disappoint, but they are immune to the embarrassment associated with outgrown toys. Even if their colours have faded, they expanded the world in a way toys can’t match."

archived:
https://archive.ph/r0H2H ]]]></description>
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