Granted, he previously wrote from the perspective of angels. I guess white men, historically, have had the most free time speaking just of the Western world , so just statistically speaking they probably have. Something that always surprises me in these debates is that the conversation always goes back to patterns of submission.
Why are editors so passive, waiting for talent to come their way? Did anyone ask me to?
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That said, I agree that editors should be more active. I think magazines that show a commitment to publishing women and POC writers naturally get more submissions from other women and POC writers. What do you think of the CancelOvid hashtag and debate?
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What if? What if we changed things or at least considered changing things? See my white! Bigger picture. Is it me, or are the biographical fallacy and the death of the author inherently conservative ideas?
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Do you think that in the literary world things are getting better? And do you think that progress in book reviews could lead to progress for the nation? I do, yes. The more that kids see people like them in positions of power getting reviewed, getting elected, whatever the more they internalize that they can do that too.
My question for you is, what responsibility do you feel, as a white male, if any, to address race and gender issues? There are lots of responsibilities, to writers and to other editors aka bosses , but the principal one is to readers: You have to bring their attention to the most worthy writing, and the most worthy writing from the broadest spectrum. As for a strategy, one counts, one makes lists, one tries to read everything.
The other option is inertia. Already a subscriber?
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Log in or link your magazine subscription. Account Profile. Sign Out. Tags: elisa gabbert vida gender poetry kenneth goldsmith vanessa place white privilege karl ove knausgaard More. Most Viewed Stories. I find this quite frustrating in the context of a real world that wants to place the blame for mass violence on mental illness. How did it strike you all, and how does it line up with prior conceptions of the Joker?
Aja: I had mixed reactions to this aspect of the film.
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Most of the time, it seems like Fleck and possibly his mom are suffering from legitimate paranoid delusions, but Joker also suggests that perhaps this paranoia is fully justified. I do think Phoenix gives a riveting performance as someone trapped in this web of uncertainty. Susana: That, in and of itself, is an excellent example of how Joker breaks with comic book convention in more than just giving the character an origin. Batman villains with concrete delusions — that they must flip a coin to make decisions, as with Two-Face; or that their puppet is a deadly mafia mastermind, as with the Ventriloquist — are some of the most sympathetically portrayed.
Is this film a tragedy about the ways society fails the mentally ill? Is it a drama targeting the classism that controls modern American society? Is it just a grimdark superhero story that ignores successful comic book movie conventions in the hopes of seeming interesting for it?
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To me, Joker felt like it could qualify as any and all of these things at any given moment, perhaps because Phillips failed to commit to a single vision. And that sort of chaotic series of meanings is one of the reasons I find the movie so frustrating. I want to ask you all what you think its intention is, what the ultimate takeaway is meant to be.
Aja: Honestly, I think Todd Phillips just wants us to think Todd Phillips is a Very Serious Filmmaker, and that the way to achieve that reputation is to plaster a title credit in very serious foot-tall letters over a sad image of a clown being beaten up by teens from a minority group.
But I believe he truly thinks this facile, far-fetched plot — Arthur Fleck loses his therapist and his job; he randomly finds out that his possible father is a billionaire and that his mother might have lied about his whole childhood; he morphs from a weakling into a vigilante in a single act of self-defense turned murder that improbably propels a giant class uprising; and he becomes a viral ironic joke who gets invited onto his favorite TV show, with all of this happening in a matter of weeks — is actually all very deep and full of pathos.
But I really think Phillips thinks he nailed it.
And that insulation makes the movie, and Phillips himself, seem that much less self-aware. Joker just wants us to feel bad. One last question for you all, a short one: What, if anything, do you think Joker does bring to the table? Has its massive success and enormous amount of press coverage shifted conversations about the movie or about Hollywood in any ways you see as positive?
Allegra: I already pled my case for Joaquin Phoenix, whose performance was a plus for me, but not necessarily a net positive for the film. But perhaps Joker, with its shallow portrayal of mental illness and radicalization, is not the film we need right now. Socioculturally, I guess I could see Joker slotting somewhere behind V for Vendetta as a milquetoast source of inspiration for would-be social anarchists, but I also think its messaging is too unclear to really be effective at inspiring anyone.
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Pictures Ah, Joker. But can we agree, at least, that Phoenix is so excellent here?
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