Universities shouldn’t just treat mental illness – they should help prevent it too

The rise in mental illness among students reflects a broader trend across society. Long-term mental health issues in children and young people are up sixfold in England since 1995, and they more than doubled in Scotland between 2003 and 2014. Exactly what’s behind the increase isn’t clear, though “studies have looked at the impact of social media, or lack of sleep caused by electronic devices, as well as the effects of an uncertain job market, personal debt or constricted public services,” writes Samira Shackle in the Guardian. In England and Wales, suicide is the leading cause of death between the ages of 20 and 34.

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Anna Lewis — Mosaic

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Are Economists Ideologically Biased?

It is hard to imagine that the biased reactions we find in our study only emerge in a low-stakes environment, such as our experiment, without spilling over to other areas of academic life. After all, as we discussed at the beginning, there already exists growing evidence which suggests that the political leanings and the personal values of economists influence different aspects of their academic lives. It is also not a long stretch to imagine that such ideological biases impede economists’ engagement with alternative views, narrow the pedagogy, and delineate biased research parameters. We believe that recognizing their own biases, especially when there exists evidence suggesting that they could operate through implicit or unconscious modes, is the first step for economists who strive to be objective and ideology-free. This is also consistent with the standard to which most economists in our study hold themselves. To echo the words of Alice Rivlin in her 1987 American Economic Association presidential address, “economists need to be more careful to sort out, for ourselves and others, what we really know from our ideological biases.”

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Mohsen Javdani & Ha-Joon Chang — Evonomics

The Pandemic Is a Disaster for Artists

Unemployment is particularly high for performing artists, of whom 27.4 percent report being unemployed, roughly twice the fraction of non-performing artists (14.5 percent) and higher even than those working in retail (18 percent). By contrast, at 11.4 percent, the unemployment rate for architects, librarians, and archivists is about the same as for the rest of the economy. The difference is likely due, at least in part, to the fact that performing artists are much more likely to be self-employed. But it also may be that performing artists have more trouble earning money by working from home, whereas designers, writers, and even visual artists may be able to continue working, publishing, or selling their art remotely.

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James V. Marrone, Susan A. Resetar, Daniel Schwam – RAND

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A Horse’s Remorse

Most radically, there was the show’s obsessive circling around its accumulated past, whose visual summary might be the whiteboards in one of the final episodes (“Sunk Cost and All That”) on which BoJack, together with Todd, Diane, and Princess Carolyn, tries to list all his many crimes and misdemeanors. That kind of unruly frame-breaking isn’t necessarily something you might associate with poignancy or sincerity. But it was this continued backtracking attention to its own making that finally allowed BoJack Horseman to end up showing that cartoon might be the most truthful model of our landscape. A person, you might conclude, is also an outline infested by other selves, a vehicle for mournful self-criticism and recomposition. We’re all fantastical now, it seemed to argue, in the multicolored digital light.

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Adam Thirlwell — The New York Review of Books

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Majoring In Crime

An interesting story of a heist – of a rare book, committed by college students.

By one o’clock that afternoon, the 227-year-old liberal-arts college was swarming with campus police, uniformed Lexington Police, plainclothes detectives, and forensic teams, as well as local news crews covering the developing “Transy Book Heist,” a crime that would one day be listed among the F.B.I.’s all-time most significant art-theft cases. From the facts that were available, it appeared that a team of four men, described as Caucasian, in their 20s, had stolen some of the most prized books and manuscripts in the university’s collection, and attacked a librarian in the process. The take could be more than $5 million. The thieves left no fingerprints behind, and there were almost no witnesses.

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John Falk — Vanity Fair

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The death of the city

“The skyscrapers and office buildings in the city centers that used to be our most valued real estate have become places people avoid out of fear of infection,” Bloom said. “I don’t see people growing comfortable with packed subway trains and elevators, and firms aren’t going to want to open and close every time there’s a wave.” “It’s the fear of the virus that keeps people at home,” said Sven Smit, senior partner at McKinsey & Company and co-chair of the McKinsey Global Institute. He added that while it was too early to be certain the shift would stick, “the tendency [for longer-term change] is there.”

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AITOR HERNÁNDEZ-MORALES, KALINA OROSCHAKOFF, JACOPO BARIGAZZI — Politico

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On the Psychology of Safety and Danger

It’s easy to feel as if safety has a universal definition. Freedom from want, freedom from fear—aren’t those what everyone means when they think of safety? Perhaps, but the routes through the world to that state of being are circuitous and varied. Smoke alarms, for instance, have been required in every American bedroom since 1993. We rarely think about them, except to grouse when they go off while we’re cooking. France, however, only began requiring residential smoke alarms in 2015. Switzerland, rated the safest country in the world in 2015 by one consumer-research firm, has not mandated them at all. There is not a simple, one-way progression from a state of nature to a state of safety. Even within nations, there are fundamental divisions about how we want to deal with risk.

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Veronique Greenwood — VQR

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I ran away to a remote Scottish isle. It was perfect

When you immerse yourself deeply into nature, exposing yourself to discomfort and risk, you recalibrate more sensitively to unseen patterns and rhythms. You feel your own pulse and breath instilled with a peace and calmness. The rugged landscape becomes hewn differently, takes on more intimate contours. Immersed daily in the sea, swimming in all weathers, it is interesting how other aspects of your life start adjusting to this routine. Tasks are organised differently, more closely aligned to the bigger cycles of sun, moon and tides and seasonal shifts. Some call this biodynamic living, and it makes sense. It connects the unique solitude of every animate or inanimate sentience, and connects it to an expansive, interconnected universe.

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Tamsin Calidas — The Guardian

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The 20 Best Novels of the Decade

It is easier to conjure the intellectual-literary atmosphere of an era when it is 30 years’ past than when it is a mere decade ago. It is hard to see 2010 right now, as we wait for time and the canon to true the lens, but I have a very clear sense-memory of revelation and exhilaration as I sped through David Mitchell’s epic-historical ghost story, The Thousand Autumns of Jacob de Zoet, wondering if the spirit of Robert Louis Stevenson had momentarily taken possession of Haruki Murakami. Here was a reminder that the world of a novel—in this case, a very detailed rendering of an 18th-century Dutch trading post in the port of Nagasaki—can be fuller, more vivid, than our own, that it can exist as a hothouse for the reader’s moral imagination.

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Emily Temple — Literary Hub

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‘In Isolation, Everything Has More Meaning’

Ottessa Moshfegh is famous for writing about uncomfortable characters experiencing uncomfortable circumstances. When I received the press copy of her latest novel, Death in Her Hands (Penguin Press), COVID-19 was, in North America, a penumbra hovering over the early weeks of 2020. By the time I spoke with Moshfegh in early June, the world had changed—becoming, at least for many, a distinctly more uncomfortable place. The protagonist and narrator of Death in Her Hands is an older woman named Vesta Gul (her surname, perhaps tellingly, is oft mispronounced as “Ghoul”). A 72-year old widow, Vesta lives modestly in an isolated cabin in the New England woods with her dog, Charlie. At the beginning of the book, Vesta finds a note that reads: “Her name was Magda. Nobody will ever know who killed her. It wasn’t me. Here is her dead body.”

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Esme Hogeveen — Hazlitt

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