Sublime

” Levitt’s deadpan spunkiness emerges throughout the essay. She is a proud reporter, insisting on the exterior, matter-of-fact, impersonal quality of her work, writes Gopnik. But she refused to become a journalist. “A reporter,” according to Levitt, “says what she sees; a photojournalist sees what everyone else is saying.”

This is, in fact, the argument of one of the most fascinating, and compelling, books I have ever read, Madness and Modernism: Insanity in the Light of Modern Art, Literature and Thought by Louis Sass, Distinguished Professor of Psychology at Rutgers.

The turn, in art, from the reparative to a demand for repair, treats art less as “a ‘third thing’ between people whose meaning ‘is owned by no one, but which subsists between [artist and spectator]’” and more as something whose meaning and function can be named and adjudicated—something that can, in fact, be moved out of the category of art, and in

Julius Wagner-Jauregg was a 19th-century psychiatrist with two unique skills: He was good at recognizing patterns, and what others saw as “crazy” he found merely “bold.”

cold-blooded need for control.

atavistic