Stephanie Burt

The music that showed me who I wanted to be, what I wanted from life, was the music that came out on Sarah Records.

‘The effectiveness of terror depends almost entirely on the degree of social atomisation, the disappearance of ... organised opposition,’ Hannah Arendt wrote. The resistance in the Twin Cities has not pushed ICE and CBP away yet, but it has turned a supposed projection of state power into a floundering tool of homicidal violence.

Remember shoegaze? If you’re under forty you won’t, though you might have come across it later. It’s the rock music that took over indie charts, and critics’ chatter, from about 1989 to 1992. Mid-tempo, meditative, sometimes earsplittingly loud but emotionally subdued, shoegaze offered fuzzy, layered guitar lines with smoky, blurred timbres; tremolo bars, odd tunings and effects pedals; reverb-heavy, warbling vocals, sung by fey men and (less often) confident women. It was invented in Dublin and London by My Bloody Valentine on Isn’t Anything(1988) and Loveless (1991), and played beautifully by (among others) Ride, Swervedriver and Lush.

Girl Violence, the third album by King Princess, is my favourite pop record in a good year for pop. It’s all over the place sonically, a hungry scavenger for scraps of slow R&B, thumping rock choruses, indie guitar fuzz, doo-wop references, half-spoken bridges and half-shouted anthemic claims. It’s first-rate popcraft made to hold emotional chaos. And it has, through thirteen tracks, a single subject: how it feels to enter an abusive Sapphic romance or romantic friendship, how to live with it, how to leave, and why people stay.

If you are a graduate student working on poetry, or a critic writing about an unfamiliar period or tradition, you will probably find yourself opening the Princeton Encyclopedia of Poetry and Poetics, for a few decades now the best point of departure for such questions as: what was Lettrism? Who are the major Flemish poets? What are the origins of rhyme? The first PEPP appeared in 1965; two of its three editors died in the 1980s, midway through the lengthy task of turning the second edition into the third. The fourth PEPP, published in August, is not only the first in twenty years, but the first with an all new editorial team: Roland Greene, Stephen Cushman and three associate editors rode herd on 1100 articles, some wholly unchanged, many lightly rewritten, and 250 entirely new. (I rewrote ‘refrain’.) It’s a big brick of a volume, almost the size of a child's head, and it may be the last edition of PEPP to take shape as a physical printed book.

There are the books you like, and the books you can recommend, and the books around which you can muster arguments. And then there are the books from which you can get no aesthetic distance at all. Often they’re books about childhood, or about something or somewhere you knew as a child. They can also be books about books. Among Others by Jo Walton, is one such book for me, and not for me alone: last week it picked up the British Fantasy Award, having already won the Nebula and the Hugo for the year's best science fiction novel. The two awards together describe the state of SF (one’s voted on by working authors, the other by fans); when the same book wins both, it’s a recommendation, and it says something about the state of the genre. And yet Among Others is not science fiction at all, if you judge by its plot.

Mitt Romney’s running mate, Paul Ryan, is a seven-term congressman from small-town Wisconsin, best known for his radical shrink-the-government fiscal proposals, though he's also quite conservative on everything else. A year and a half ago, the ‘Ryan budget’ put him in the national spotlight – with some help from Obama (on which more below) – and made him a hero on the right. It proposes making big cuts in many federal programmes and turning Medicare into a voucher system that would not keep up with healthcare inflation: the government would save money because old people would go untreated or pay more. Compared to many Republican proposals, it’s full of detail, though its arithmetic appears not to hold up.

Timothy Alborn is the dean of arts and humanities and a professor of history at Lehman College of the City University of New York, and a scholar of Victorian business history. From 1989 to 1998 he ran Harriet Records, which released singles and CDs by never or not-yet famous pop groups such as the Scarlet Drops, Twig and Wimp Factor XIV. From 1985 to 1998 he also published Incite!, a fanzine with perhaps as many as several hundred readers, fans of obscure pop and rock bands from Boston to Dusseldorf to Melbourne. (During the 1990s Alborn taught at Harvard, where I met him and became a fan of his work.)

There are the records you like that everyone else seems to like, and the records you like that very few people have heard. And then there are the records you like that everyone else who has heard them seems to despise, the records that sank, or nearly sank, musicians' careers. At the top of that third stack, for me, is Bob Mould's modulate. Before it came out in 2002, Mould was known as an indie-rock guitarist, writing grim, angry, straightforward songs. modulate, though, was half mumbled and half AutoTuned, flipping disconsolately between dirty guitars and a low-budget version of the Pet Shop Boys, composed partly on synthesisers that sounded as if he'd just bought them; it was dance music that nobody could dance to, a collection of could-have-been hits undermined and overrun by brassily programmed samples, police sirens, bells, boxy electronic drums, and other touches that repelled a rock audience without going out of its way to grab anyone else.

Jessie and I were making our way to the Métro from the Jardin du Luxembourg when we literally stumbled – I think I tripped over a microphone cable – into the 29th annual Marché de la Poésie, an open-air, weekend-long festival of poets and poetry, with enough tents, booths, temporary stages, lecterns, folding chairs and rope lines to take up the whole of the Place Saint-Sulpice. The festival is big enough and famous enough to have developed a fringe (périphérie), a set of poetry-related events that continue until late June, in venues from the Portuguese consulate to the Halle St-Pierre in Montmartre. The organisers say that last year there were 509 exhibitors and 60,000 visitors.