Is the world getting better or worse?
Branko Milanović grew up in Yugo-slavia, during the nineteen-sixties and seventies. He became an economist at the World Bank and then a professor at CUNY; on his blog, Global inequality, he discusses economics and reminisces about the past. Recently, he published a post about his youth. He had been reading histories of the postwar decades, by Svetlana Alexievich, Tony Judt, and others. Faced with these grim accounts, Milanović felt protective of his past. “However hard I tried,” he wrote, “I just could not see anything in my memories that had to deal with collectivization, killings, political trials, endless bread lines, imprisoned free thinkers,” and so on. Instead, he had mainly good memories—of “long dinners discussing politics,” the “excitement of new books,” “languid sunsets, whole-night concerts, epic soccer games, girls in miniskirts.” He worried that, with the passage of time, it was becoming harder to imagine life under Communism as anything other than a desperate struggle with deprivation and repression. He titled his post “How I Lost My Past.”
Denne historien er fra July 23, 2018-utgaven av The New Yorker.
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Denne historien er fra July 23, 2018-utgaven av The New Yorker.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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HOLIDAY PUNCH
\"Cult of Love\" on. Broadway and \"No President\" at the Skirball.
THE ARCHIVIST
Belle da Costa Greene's hidden story.
OCCUPY PARADISE
How radical was John Milton?
CHAOS THEORY
What professional organizers know about our lives.
UP FROM URKEL
\"Family Matters\" and Jaleel White's legacy.
OUTSIDE MAN
How Brady Corbet turned artistic frustration into an American epic.
STIRRING STUFF
A secret history of risotto.
NOTE TO SELVES
The Sonoran Desert, which covers much of the southwestern United States, is a vast expanse of arid earth where cartoonish entities-roadrunners, tumbleweeds, telephone-pole-tall succulents make occasional appearances.
THE ORCHESTRA IS THE STAR
The Berlin Philharmonic doesn't need a domineering maestro.
HEAD CASE
Paul Valéry's ascetic modernism.