Geoff Dyer

  • Still from Ways of Seeing, 1972, a TV show on BBC. John Berger.

    John Berger

    TO EXPLAIN why John Berger was such a great writer about art, it’s easiest to start with questions of boredom. What first struck me, when I saw the classic 1972 TV series Ways of Seeing and read the book adapted from it, was the way Berger made boring old paintings of men in ruffs look interesting. He was able to do this—and so much more—because he was the least boring writer on art there has ever been. Think, on the other hand, of that lavish catalogue accompanying the wonderful show of whatever at the museum of wherever. You really wanted a souvenir of your visit, but when you looked


    Eleven scholars, critics, writers, artists, and architects choose the year’s outstanding titles.


    Miriam Bratu Hansen completed Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno (University of California Press) shortly before she died last year after a long illness. A summa of her life’s work, this magisterial book is a gift—and a must—for anyone interested in critical theory’s engagement with film, media, and mass culture; there is no other study like it. The book’s ultimately discarded working title, “The Other Frankfurt School,” pointed to