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23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG gBDqlf"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><div class="GenericCalloutWrapper-tojWn iHBnEl llout--has-top-borr set-embedd-le" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="In terviews Édouard Louis who is now twentyfour has said that everythg he reunts the novel is te." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">In terviews, Édouard Louis, who is now twenty-four, has said that everythg he reunts the novel is te.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Ryan Pfluger for The New Yorker</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg">Sce was published France, 2014, “The End of Eddy,” Édouard Louis’s slim début novel, has sold more than three hundred thoand pi. Much of the extraordary tert the book has centered on s pictn of Hallenurt, a village of about fourteen hundred people Pirdy, the north of France, not far om the sea. Hallenurt’s ocsnal bety—u tre garns, explosns of lor the tumn woods—do ltle, Louis’s tellg, to alleviate the human sufferg that tak place there. A post-dtrial cle has shuttered most of the regn’s factori, and jobs are srce and hard. Children the village leave school early; women have children young; one five adults has difficulty readg and wrg. Alholism is rampant and vlence sual.</p><p class="paywall">The village overwhelmgly vot for Mare Le Pen’s far-right Natnal Front, and, as France has braced self for the possibily of a Le Pen Princy, Louis’s book has bee the subject of polil discsn a way that novels rarely do. (In the first round of the current Printial electn, Le Pen received nearly twice as many vot Hallenurt as any other ndidate.) For Louis, the ti of populism sweepg Europe and the Uned Stat is a nsequence of what he, cg the soclogist Pierre Bourdi, lls “the prciple of the nservatn of vlence.” “When you’re subjected to endls vlence, every suatn, every moment of your life,” Louis told an terviewer, referrg to the digni of poverty, “you end up reproducg agast others, other suatns, by other means.”</p><p class="paywall">“The End of Eddy” (Farrar, Strs & Giroux; translated, om the French, by Michael Lucey) vers five or six years the life of Eddy Bellegule, a child growg up poor and gay Hallenurt— the novel, Louis refers to only as “the village”—where he’s vicly mocked for his effemate manners, what his fay lls his “fancy ways.” In the book’s openg pag, Eddy is ten, and two boys, somewhat olr, are assltg him a middle-school hallway. They ll him “faggot” before sptg his face; soon they’re shovg him; fally, as his head slams agast the wall, they kick him, lghg. The passage is btal and vivid, but lacks the ual markers of tensn or urgency: the narratn wavers unsteadily between past and prent tense, and there’s a lyril slowg of time, an almost luxur lgerg on sensatn as the boys’ saliva slis down Eddy’s face. Louis ps the drama for digrsns on vlence the village, on how the stctur of domatn the playground mirror those the world at large, even on ntal re:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I uld smell their breath as they got closer, an odor of sour k, ad animals. Like me, they probably never bshed their teeth. Mothers the village weren’t too ncerned about their children’s ntal hygiene. Dentists were expensive and as ual a lack of money me to seem like a matter of choice. Mothers would say <em>There</em>’<em>s way more important thgs life</em>. That fay negligence, class-based negligence, means that I still suffer om acute pa, sleepls nights, and years later, when I arrived Paris and at the Éle Normale, I would hear my classmat ask me <em>But why didn’t your parents send you to an orthodontist</em>. I would lie.</p></div></blockquote><p class="paywall">The asslt, soon be clear, is not a sgle event, but a pose, a kd of rual repeated over two years. It happens a regular spot, a seclud rridor outsi the school library, where Eddy appears daily. He subms to the beatgs out of fear, and out of a sire to suffer privacy; he wonrs if his actns nstute plicy. A weird timacy velops between him and the two boys. When one of them seems sad, Eddy worri about him. Later, attemptg to have sex wh a woman, he will thk about the boys and their vlence a failed effort to aroe himself.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">In terviews, Louis has said that everythg he reunts the novel is te. (Members of his fay, as well as other habants of Hallenurt, have disputed elements of his acunt.) Édouard Louis was born 1992, Hallenurt, as Eddy Bellegule—his father, a fan of Amerin televisn, thought that Eddy was “a tough guy’s name.” After jog a drama club at his middle school, Louis was accepted to a rintial theatre program at a high school a nearby cy, Amiens, which provid his pe om the world of his childhood. From there, he went on to the Universy of Pirdy Jul Verne, to study history, and to the prtig Éle Normale Supérir, Paris, for graduate work. Shortly before his novel was published, he legally changed his name to Édouard Louis.</p><p class="paywall">“The End of Eddy” is an stance of what is sometim lled tofictn, which has been the source of some of the most tertg English-language fictn of the past . There is a long tradn of such wrg, pecially French, and queer wrers are central to : behd all such novels li the example of Prot; the works of the French novelist Hervé Guibert and the Amerin Edmund Whe are more recent precursors of Louis’s book. The novel is dited to the soclogist Didier Eribon, whom Louis met as a universy stunt. Eribon’s memoir, “Returng to Reims,” also reunts a gay man’s trajectory om provcial poverty to amic prtige.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">“The End of Eddy” largely dispens wh the nventns of the realist novel. The book is anized topilly, short chapters, several wh the feel of says, bearg tl like “My Parents’ Bedroom” and “A Man’s Role.” While the novel is full of cint and anecdote, scen are terpted by mentary so often that there is almost no sense of a forward-movg plot. The most mon narrative mo is the generalized past. What distguish “The End of Eddy” om s tofictnal antecents is the urgency wh which Louis seeks to separate himself om his prev self, a sire so tense that the novel n be seen as a kd of wake. The French tle, “En Fir Avec Eddy Bellegule,” might have been more lerally translated “Fishg Off Eddy Bellegule.”</p><p class="paywall">Queerns is the key that sprgs Eddy om the var cycl—of poverty, of alholism, of vlence—that he se as termg life the village. “Beg attracted to boys transformed my whole relatnship to the world,” he wr, “enuragg me to intify wh valu that were different om my fay’s.” This don’t mean that queerns reprents eedom; ’s an “unknown force that got hold of me at birth and that imprisoned me my own body.” While his parents regard his mannerisms as a choice, “some personal athetic project that I was pursug to annoy them,” Louis nsirs not only his sir but also elements of cultural style often d as queer to be rporeal, termed and by the body: “I had not chosen my way of walkg, the pronounced, much too pronounced, way my hips swayed om si to si, or the shrill cri that ped my body—not cri that I uttered but on that lerally ped through my throat whenever I was surprised, lighted, or ightened.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="9dvh"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="dcr99"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The sense that his sexual inty is hardwired and sential is shared by his tormentors. After he’s disvered havg sex wh some iends, Eddy wonrs why they pe the bullyg directed at him. The adult Louis, echog the philosopher Michel Fouult, realiz that “the crime was not havg done somethg, was beg somethg.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Throughout the novel, Louis talogu the bafflg ntradictns of the world of his childhood: btal racism next to iendls toward the village’s sgle person of lor; his father’s srn for the bourgeoisie and his hope that Eddy will jo their ranks; the villagers’ hatred of ernment, which they sist mt take actn agast immigrants and sexual mori. Dcribg his mother’s herent polics, Louis c Stefan Zweig’s acunt of peasant women who protted at Versaill and then shouted “Long live the Kg!” at the sight of Louis XVI: “their bodi—which had spoken for them—torn between absolute submissn to power and an endurg sense of revolt.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Above all, Louis is perplexed by the simultaneo pri and huiatn that his parents and their neighbors feel for their particular way of life. But he to believe that the seemg ntradictns appear paradoxil only bee of his own manner of lookg at thgs. Of his mother, he wr, “It was I myself, arrogant class renega that I was, who tried to force her disurse to a foreign kd of herence, one more patible wh my valu—valu I’d adopted precisely orr to nstct a self opposn to my parents”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I me to unrstand that many different mos of disurse tersected my mother and spoke through her, that she was nstantly torn between her shame at not havg fished school and her pri that even so, as she would say, she’d <em>ma through and had a bunch of betiful kids</em>, and that the two mos of disurse existed only relatn to each other.</p></div></blockquote><p class="paywall">Louis, who has eded a llectn of says on Bourdi, such theory-flected language throughout the novel. As analysis, his ments don’t take very far: he don’t dissect which “mos of disurse tersected” his mother, or how or why they “existed only relatn to each other.” Passag like this often do ltle more than align his observatns wh mon reference pots French social theory, pecially Bourdi and Fouult. Some of them echo more amilly rigoro passag “Returng to Reims,” which also attempts to expla the shift of the workg class France om leftist polil parti to the Natnal Front.</p><p class="paywall">For the novelist, there’s a danger this kd of language. Stctur bee visible through abstractn at the st of supprsg lol variatn and noise, the apparently aberrant, the dividual. It’s out of such noise that novels are ma. French crics have pared Louis wh Zola, who also wrote about the French workg class novels rmed by soclogil theori. But Zola, a novel like “L’Assommoir,” sticks close to dividual liv and experienc, whout importg the language of specialists. The abstractns that Louis ploys n flatten out novelistic texture, renrg visible any tails that they n’t acmodate. This problem is suggted passag where Louis speaks of “the simplicy of those who posss ltle,” or of a specific cint as “the first an endls seri, each time the same—down to the tit tails.”</p><p class="paywall">Louis is a nny wrer, however, and he signals his awarens of this danger the novel’s first l. “From my childhood I have no happy memori. I don’t mean to say that I never, all of those years, felt any happs or joy. But sufferg is all-nsumg: somehow gets rid of anythg that don’t f to s system.” The word that Lucey renrs as “all-nsumg” is more disfg the French origal: “<em>La soufance t totalaire</em>.” “The End of Eddy” is a dark book, but isn’t an entirely joyls one; nor is “totalarian.” If the narrator ocsnally offers a rctive view of his world, the novel self don’t exclu what falls outsi his system. Its characters act ways that offer the novelistic pleasure of surprise.</p><p class="paywall">This is pecially te of Eddy’s father, who is troduced the novel’s first pag as an almost gothic figure, takg startlg light the everyday vlence of ral plac. He kills a lter of ktens by placg them a plastic shoppg bag and slammg agast ncrete; he drks the warm blood of pigs he has slghtered. He jos eagerly the brawls that are part of the ruals of manhood and falls victim to the alholism that is the plague of the village. And yet, spe havg been btalized by his own father, he never hs his wife or his children, breakg a cycle that Louis elsewhere suggts is vcible. In one agonizg scene, the father allows himself to be beaten, refg to strike back as he shields Eddy om his olr brother’s dnken rage. For all the shame he feels at Eddy’s effemacy, he repeatedly assur him of his love. When Eddy’s mother tells him stori of his father as a young man, when he stck out for a new life, travellg to Toulon and beg bt iends wh an Arab man, she exprs bewilrment: “<em>It don</em>’<em>t make sense</em>, <em>when he says we should kill all the ragheads but then when he lived the Midi his bt mate was a raghead</em>.” That attempt to change his life failed, and may be irrelevant to stctural analysis; Louis don’t try to expla . But is not irrelevant to the human tert, which is to say the novelistic richns, of character.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Even Louis’s e of amic language ultimately to feel ls analytil than athetic and dramatic. For the young Eddy, refed language is a weapon, a way to turn the stigma of difference to the prtige of distctn. When Eddy the formal verb <em>dîner</em> at home stead of the faiar <em>bouffer</em> (“to chow down”), his fay tak umbrage. They acce him of puttg on airs, of “philosophizg” (“to philosophize meant talkg like the class enemy, <em>the hav</em>, <em>the rich folk</em>”). The full implitns of this e clear the book’s most staed narrative, a story Louis tells late the novel about Eddy’s Sylva, whose short, harsh life of petty crime aro both dismay and pri his fay. When a prosecutor offers him a chance to provi extenuatg circumstanc for his crim—“<em>Can you affirm that your acts are imputable to external fluenc of some kd</em> ”—Sylva is unable to follow the qutn:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>He wasn’t embarrassed, he didn’t feel the vlence the prosecutor was exercisg, the class vlence that had exclud him om the world of tn, the vlence that had, the end, led him to the urtroom where he now stood. In fact he mt have thought that the prosecutor was ridiculo. That he spoke like a faggot.</p></div></blockquote></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="pzjjz"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The passage is brilliant s management of sympathy. The fal clipped sentence remds that Sylva, here a victim, is also an agent of the vlence that Eddy suffers aga and aga the novel. Louis knows that the language of social theory, which requir the kd of tn the poor are nied, is plic the system that seeks to make visible. His e of that language “The End of Eddy” is eighted wh an ambivalence that animat the book and giv a vastatg emotnal force. To wre the novel is at once an act of solidary and an act of vengeance.</p><p class="paywall">“For , a book was a kd of asslt,” Louis wrote of his fay recently the <em>Guardian</em>. Some of the rints of Hallenurt have received “The End of Eddy” as jt that. “It’s not right, what he’s done,” Louis’s mother told a reporter. “He prents like backward hicks.” Louis’s send novel, “Histoire la Vlence,” has also provoked ntroversy. It reunts a terrifyg altertn between Louis and a man he picks up on the street on Christmas night 2012. Their sexual enunter begs tenrly; then, after Louis tch the man attemptg to rob him, the man rap and beats him.</p><p class="paywall">We learn the tails of the enunter large part the voice of Louis’s sister: he is back Hallenurt, her home, listeng as she relat for her hband the story he has told her earlier. The book don’t offer any rolutn to the nflicts of “The End of Eddy,” but do imply that Louis hasn’t turned his back on Eddy’s past as fally as his first novel suggts. Injured and ightened, he wants a kd of solace that his iends Paris n’t offer him. He wants to go home. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="5bbfoj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div 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SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Cultural Chronicl</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/magaze/2015/01/26/next-thg" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Next Thg</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2015/01/26/next-thg" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Next Thg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Michel Houellebecq’s Franphobic satire.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Adam Gopnik</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2015/10/19/drawg-blood" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Drawg Blood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Letter om Paris</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/magaze/2015/10/19/drawg-blood" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Drawg Blood</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2015/10/19/drawg-blood" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Drawg Blood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">A French graphic novelist’s shockg memoir of the Middle East.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Adam Shatz</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Rise and Fall of Neoliberalism" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Cric at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Rise and Fall of Neoliberalism</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Rise and Fall of Neoliberalism" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The ee market ed to be touted as the cure for all our problems; now ’s taken to be the e of them.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Civil-Rights Showdown Nobody Remembers" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Books</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Civil-Rights Showdown Nobody Remembers</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Civil-Rights Showdown Nobody Remembers" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Clton High was the first Southern school to be tegrated by urt orr. Why did reluctant acceptance turn to vlence?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm kdEfwY ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-no-id="myui0j"></div></div></div><div class="SummaryCollectnGridToActnWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div class="RowWrapper-UmqTg 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