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n+1 is a brand new York–based American literary journal that publishes social feedback, political observation, essays, paintings, poetry, e-book reports, and brief fiction. it truly is released thrice every year, and content material is released on its site a number of occasions every one week. every one print factor averages round 2 hundred pages in length.


This add is a part of an ongoing undertaking. I'm engaged on making .pdfs of each factor that's been published. the web site doesn't have the articles to be had as .pdfs, so I'm making those from scratch.


Read this journal when you like: leftist politics and whatever literary.


Issue 3 - fact precept, Fall 2005: 143 pgs

The ’90s bubble. On “Dating.” The con of the “reading crisis.” James wooden at the job of the critic, Walter Benn Michaels on neoliberalism and the unconventional, Mark Greif on truth television and Radiohead, and Elif Batuman on Franco Moretti.


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Additional info for n+1, Issue 3: Reality Principle (Fall 2005)

Sample text

She comes out of the closet. She gets manhandled by her trainer every day and doesn’t give it a thought. She feels after her first spar the same way she felt after the first time she had sex—inarticulately emotional, disappointed, empty, cynical, with a strange new sense of alignment. Anxious to do it, discover it, again. Now there is a vital third engagement with life, a way to feel one’s body consume and be consumed, to know and be one’s physical self, to excite and exhaust, to touch and be touched, to unleash her power.

When a boxer in an amateur fight fails to answer several blows, appears overcome, or has taken a particularly headrocking shot, the referee may call a time-out, stand before the weakened contender and count to eight on his fingers. If a male fighter receives three standing eight-counts in a single round, the fight is stopped, a TKO. For women, however, just two standing eights in a round suffice to end a match—a concession, perhaps, to the mixed-bag problem of the single female division. I will later see a mismatched women’s fight stopped after forty-one seconds.

It is antireligious, though attuned to transcendence. The organ in a church can be the repository of sublime power: a bundling of human throats in its brass pipes, or all the instruments known to man in its stops. You can hear your own small voice responding, within something so big that it manifests a threat of your voice merely being played mechanically and absorbed into a totality. To sing with an organ (as Yorke does at the end of Kid A) can be to discover one’s own inner voice in distinction to it; and at the same time to wish to be lost, absorbed, overwhelmed within it.

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n+1, Issue 3: Reality Principle (Fall 2005)

by Daniel

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