The poetic image has long been a companion of the seeking, even in its guile. Itself a thing that lies between the immediate and the ineffable, the image lends its wielding to those who wander that gulf.
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It’s a great premise for a series: journalists excavating what they left out of their reportage. May Jeong’s contribution for Off Assignment’s column, What I Didn’t Say, elucidates her experience reporting on a rash of deaths at Fort Hood, America’s largest military base.
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One consequence of relying on sight is how rarely we watch ourselves. We see our hands in motion, our reflections in mirrors, our steps beneath us, but we largely watch others. We watch television, films. Even as we try turning inward, we find ourselves looking outward.
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At the risk of getting too personal too fast—sharing something in a book review that probably should be worked out with a licensed therapist—I very much related to the internal obsession of the protagonist of Marissa Higgins’s A Good Happy Girl.
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AI, generally defined as technology able to complete functions once believed to require human skill, is a catch-all term for technology we once thought we could not hand over. The benchmark for what we imagine possible and impossible advances with each technological innovation from the chess-playing computer to ChatGPT.
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