Ryan at the LA Review of Books

This year I published two review essays at my favorite arts and culture outlet, the Los Angeles Review of Books. The first, which came out in April, considers a harrowing journalistic account of what ISIS does to civilian women in Iraq and Syria. The more recent piece, “Students Want to Write Well; We Don’t Let Them,” appeared a couple of weeks ago. I’m proud of both; here’s a taste of the latter:

There is a crisis in how we teach young people, and for Warner this is especially salient in American writing classes. But it’s not the crisis you hear policymakers in Washington or your statehouse talk about, nor is it the sort of narrative that attracts New York Times columnists. The problem is not smartphone addiction, or oversensitive campus activists, or a lack of rigor on the part of professors who only care about their research, or unscrupulous teachers unions protecting bad apples, or millennials getting too many participation trophies, or helicopter parents, or whatever else bothers pundits at The Atlantic this week. It has, instead, a lot more to do with how we have tried to industrialize and centralize education since the Reagan era while simultaneously withdrawing the resources that allow teachers to create environments where students can thrive. A bad thing happened when the standardized test met the austerity budget coming down the road.

Ryan at DIALOGIST

Hello. How did you get here, to this dormant belles lettres blog? What happened along your way to turn you astray?

Anyway, you’re here, and perhaps you would enjoy TGR co-founder Ryan Boyd’s criticism at DIALOGIST, the art and poetry quarterly where he is the Reviews Editor.

Here is a review of some Philip Levine and Charles Bukowski books (Rest in Power may they both). It focuses on the contribution a left politics made to their poetics. Here is an essay about a new biography of Elizabeth Bishop. And most recently, there’s this piece on the poet Dana Gioia’s lyrical practice and theory.

 

Ryan on Drugs at the Los Angeles Review

Over at the Los Angeles Review, I’ve written a short essay about a new book on drugs, art, and culture. Despite the subject, I’m sober as a judge. Here’s an excerpt:

But the book would be limited if it just catalogued the influence of chemicals on the lives and works of artists, fascinating as that might be. Scott goes further, locating drugs within networks of capital and power. Narcotics are big business. Reliant on economic and ecological networks built during centuries of imperial conquest—that’s how rum, cocaine, sugar, coffee, Scotch, tea, tobacco, weed, Oxycontin, and all the other hedonic goodies became global commodities—“migrations of the narco-imaginary are marked by a history of violence.” Police power backs up corporate interests, determining which drugs are legally available and which are forbidden, and punishing socially marginal users of the latter most severely. Witness America’s prisons, full of black and Latino users in 2017, when a middle-class white literary critic might walk down the street smoking a joint in any state where you can buy a medical-marijuana card. The great irony of drugs: promising transcendence, they are wired into the same late-capitalist circuits that provide us with Chicken McNuggets and private jails.

-Ryan