Terry Williams: The Cosmopolitan Life of an Urban Ethnographer

“To see the real city you must descend deep into the shadows, go into the bowels of the city and be guided through history, remembrance and the sensorium, capturing a mosaic of people and places; the adventure will take you underground, in sex venues, crackhouses, teenage hangouts, toxico-maniac dens, as these physical spaces juxtapose the romantic reality of a multi-ethnic metropolis.”

Terry Williams, introducing his Cosmopolitan Life Series

On a chilly Sunday afternoon in a February, a crowd gathered at the home-hosted Harlem Arts Salon to hear about the latest book from Terry Williams, Professor of Sociology at The New School for Social Research. As filmmakers, musicians, artists, poets, sociologists, and current and former graduate students entered the inviting apartment, Williams warmly greeted them by name, creating a sense of community and connection rare at academic book talks.

But this wasn’t a ‘regular’ book talk. For one, host and Harlem Arts Salon founder Margaret Porter has known Williams for decades. Both grew up in Mississippi, found their way to New York City, and moved to Harlem in 1979. Guest moderator Hakim Hasan, a poet and former Director of Public Programs at the Museum of the City of New York, also cited a deeply personal relationship with Williams, whom he called “gracious, soulful, and dedicated.” 

And Le Boogie Woogie: Inside an After-Hours Club (Columbia University Press, 2020) isn’t a ‘regular’ academic book, with obscure jargon and heavy prose. In it, Williams deftly weaves together ethnography, sociological sources, and storytelling to create a fascinating and accessible account of the cocaine culture at a Harlem club in the 1980s and 1990s — a book for, in his words, the “cosmopolitan nonspecialist.”

A Multiethnic Panorama

“I am insatiably curious about the life of other people,” says Williams. “Some would say I’m nosy.”

A keenly observant scholar, Williams has turned being “nosy” into a decades-long career studying urban life and policy. His preferred methodology is ethnography, embedding himself in different situations to observe how people interact with each other and their surroundings. “I try to see the world as other people see it,” he explains.

When Williams was a doctoral student at CUNY in the early 1970s, ethnography was not a part of a sociologist’s toolkit. Focusing on non-quantitative social science made him an outlier in his department, and he instead found mentors at the University of Chicago, well-known for its pioneering work in urban sociology and advocacy for ethnography as critical to sociological research. Ethnography has become such a staple of his work that he even co-wrote the book on it; On Ethnography (Wiley, 2018), with colleague Sarah Daynes, shares lessons learned from decades of research in the field.

Williams publishes prolifically, and Le Boogie Woogie is the latest book in what he terms his Cosmopolitan Life Series; previous subjects include con men, Harlem building superintendents, crackhouse residents, and teenagers who self-harm. The series is a multivolume ethnography of place and behavior, and while the topics are diverse, none are forced; all evolved organically from Williams’ established relationships and interests.

Inside the Club

That’s especially true in the case of Le Boogie Woogie. While Williams’ father had run a small after-hours club in Mississippi, Williams was never allowed to get too close to it — a fact that only attracted him more. Once in New York City, he became connected with Le Boogie Woogie and other clubs like it via former students he taught at Rikers Island correctional facility and later befriended. He became curious about the club’s patrons who shared a lifestyle based around the enjoyment of cocaine and, with a professor’s encouragement, he began to work out a plan for research.

“No study had been done on cocaine users in their natural setting or to describe users as they lived,” he writes in the book’s introduction. Others told him it wasn’t a good idea, “…but my job as a researcher is to see if I can gain the trust and acceptance of people other than my kinfolk.” He pressed forward. 

Granted access to the club by way of his connections, Williams began to attend regularly. When talking with patrons and workers, he listened closely, keeping mental notes so he could later reconstruct dialogue. “Only on a few occasions did I use a tape recorder or openly take notes. I relied on memory for the most part, even though I was concerned that reconstructing conversations was problematic and porous and would affect my narrative,” Williams writes. He later opened up to some patrons about his research, and they began to share their extended stories with him.

The result is a vivid narrative that brings the setting, the scene, and the many characters who populate Le Boogie Woogie to life — so much so that the reader begins to feel like a nightly regular. “What he unveils,” says a recent Kirkus review, “is a subculture with its own codes and language, with moral values at odds with society at large, where drug use isn’t a sickness, addiction, or character defect but rather an ‘example of present-day resistance to conservative values and the desire of human beings to seek pleasurable ways of being regardless of risk.’”

Not only did Williams have to reconstruct dialogue after the fact; he had to reconstruct the entire scene years later. By the time Le Boogie Woogie was published in 2020, the club had been closed for decades. At his publisher’s encouragement, Williams broadened his research to the current day by studying Murphy’s Club, an after-hours club on the Lower East Side frequently mainly by wealthy, white millennials. In doing so, Williams is able to draw important connections and contrasts over time around drug usage, buying, and consumption; nightlife; sex work; race; class; gentrification; the War on Drugs; and the transformation of New York City itself.

“From a methodological perspective, most urban ethnographers do not imagine themselves to be historians in the classical sense of the word,” writes Williams. “Yet there is an inherent and unavoidable historical framework to all ethnographic work.” Le Boogie Woogie is a journey through time, through space, through states of consciousness, and through discreet worlds, each with their own cultural practices and lexicons.

The Sole of the Matter

Williams with his latest project: shoe construction

While Williams continues to prepare new books for his Cosmopolitan Life Series, he’s sharing his research skills and gift for storytelling with NSSR students in his classes on ‘Ethnographic Field Methods’ and ‘The Living Book: From Research to Manuscript.’ 

He’s also collaborating with Catherine Murphy, Senior Research Associate at Parsons School of Design, on ‘The Social Life of Stuff,’ a course that examines the social world of objects, products, and people. Their guiding questions: “What discoveries do we make when we trace the life of the objects that surround us? How do we understand craft? What does the spirit of capital mean in present-day life and the act of making and re-making? What responsibility do we have in addressing the impact products have on the worlds we live in? As we think about examining unusual materials and items of the sacred what remains sacred today? Where does the moral compass stand as it connects to the Internet and places like Silicon Valley?”

That insatiable curiosity that’s led Williams across New York City and around the world of stuff has also led him to a new field: shoe construction. In between teaching and writing, he’s been studying the ins and outs of creating shoes, and currently has prototypes of five different models made from mink, pony, leather and raffia. Several are named after his books or his ethnographic subjects and evoke something about the topics in their design and construction. He hopes to begin selling his shoes in 2021, with profits going to support the Harlem Arts Salon’s Gloster Arts Project and Parsons School of Design students. For Williams, it always comes back to creativity, connections, and communities.

Global Honors for NSSR Faculty

As world-renowned scholars in their fields, several New School for Social Research faculty members recently received major honors from universities in Europe and South America. 

Richard J. Bernstein, Vera List Professor of Philosophy, teaches a class at The New School for Social Research

Richard Bernstein, Vera List Professor of Philosophy, received an honorary doctorate from the University of Buenos Aires in September 2019. 

As part of several days of celebration, Bernstein gave a keynote lecture on his philosophical journey; participated in a roundtable discussion entitled “Philosophy as Conversation: 40 Years of Philosophy and the Mirror of Nature by Richard Rorty”; and presented the 2019 Spanish translation of his 1983 classic, Beyond Objectivism and Relativism: Science, Hermeneutics, and Practice.

Bernstein is a celebrated scholar of American pragmatism, and is teaching a class on the topic at NSSR this spring. He writes and teaches across fields including social and political philosophy, critical theory, and Anglo-American philosophy. He has taught at NSSR since 1989, and has had an integral role in shaping the school as both NSSR dean and chair of the Department of Philosophy.


Headshot of Alice Crary, University Distinguished Professor

Alice Crary, University Distinguished Professor, has been named Visiting Fellow at Regent’s Park College, University of Oxford. This continuing position supports Crary’s ongoing relationships with faculty and students at Regent’s, where in 2018-2019 she was Fellow in Philosophy and Christian Ethics, as well as with the greater Oxford community. Crary was the first Regent’s Fellow to be awarded a personal chair at Oxford from the start of their appointment.

A moral and social philosopher, Crary has written widely on issues in metaethics, moral psychology and normative ethics, philosophy and literature, philosophy and feminism, critical animal studies, critical disability studies, and Critical Theory as well as on figures such as Austin, Cavell, Diamond, Foot, Murdoch and Wittgenstein. Her most recent book is Inside Ethics: On the Demands of Moral Thought (Harvard University Press, 2016), a monograph on the representation of animals and humans in ethical discourse. Hypatia: A Journal of Feminist Philosophy described the book as “a sweeping challenge to several widely shared orthodoxies in metaphysics and moral philosophy.” 

In Spring 2020, Crary is co-teaching a graduate seminar on Animal Ethics with Dale Jamieson, Professor of Environmental Studies and Philosophy at New York University.


Willi Semmler, Arnhold Professor of International Cooperation and Development, sits in his office

Willi Semmler, Arnhold Professor of International Cooperation and Development, received an honorary doctorate from FON University in North Macedonia in late January 2020. Following the ceremony, he took part in a summit entitled The Role of Education for Global Peace and Sustainable Development. 

Ambassador Prof. Dr. Karim Errouaki, President Emeritus of FON University, called Semmler “one of the most far-seeing political economists of our time,” adding, “For nearly 40 years, you have been a generative thinker, one whose theories have transformed the core of teaching in the field of Dynamic Modeling, Empirical Macroeconomics, and Finance and more recently you have pioneered and shaped the new field of Macroeconomics of Climate Change.”

A research associate and director of the Economics of Climate Change project at NSSR’s Schwartz Center for Economic Policy Analysis, Semmler is indeed on the forefront of new efforts to try to make measurable the economic impacts of climate catastrophe. His latest research focuses on financing low-carbon transitions through green bonds and carbon pricing, and he wrote a report on the topic for the World Bank with several NSSR Economics alumni and current students. 

Learn more about Semmler and his research in this Research Matters profile.

A New Experimental Opera Combines Music, Philosophy, and Performance

This article originally appeared in the New School NewsTo learn more about the work of Chiara Bottici, Associate Professor of Philosophy, visit her faculty biography. Performances of The Art of Change featured guest appearances by NSSR Philosophy faculty members Simon Critchley, Cinzia Arruzza, Dmitri Nikulin, and Jamieson Webster.

Opera has been around for more than 400 years and has consistently stayed true to its origins. Through the years, musicians have composed works that use opera as a starting point but fold in different genres and styles to create artistic pieces that advance the form and excite audiences.

The Art of Change launched in 2016, when Jean-Baptiste Barrière began a residency at Mannes School of Music. The piece, which premiered at The New School on January 16, 2020, is an interactive, participative, generative visual and musical installation about what needs to be changed in the world. Featuring the work of students and faculty from throughout The New School, the experimental opera fuses live performance and philosophy into a new kind of work that is equal parts opera, performance art, and salonlike gathering of socially conscious artists and thinkers. 

“I imagined to develop The Art of Change as a new, original stage form, a sort of contemporary opera, including intellectuals delivering live statements about ‘what needs to be changed,’ as well as singers and instrumentalists sight-reading musical scores generated from the speeches and performing it live,” says Barrière. “The idea is to extract the speech melody and rhythm and transform them through compositional rules: Speech not only becomes music, but can be developed and proliferate into a pure musical form.”

Improvisation, collective authoring, and spontaneity take center stage in the innovative piece, which uses software designed by Barrière to capture the melodic and rhythmic pattern of speech. The dialogue is recorded, processed, and turned into a spontaneously generated score that is interpreted and performed on the fly. Onstage with student singers, instrumentalists, and actors from the College of Performing Arts will be celebrated performers and thinkers like Joan La Barbara and Simon Critchley.

The trailer for The Art of Change, featuring fellow NSSR faculty Hugh Raffles (Anthropology), Robin Wagner-Pacifici (Sociology), and Janet Roitman (Anthropology)

In true New School fashion, The Art of Change is a highly collaborative effort, featuring the work of Chiara Bottici, an associate professor of philosophy at The New School for Social Research, who wrote the libretto, and Timo Rissanen, an associate professor of fashion design and sustainability at Parsons School of Design, who designed the costumes.

“From long experience with collaboration, what I find most important is to meet all sorts of different personalities, with their own experiences and talents, who shake your habits and possibly too automatic ways of thinking,” says Barrière. “Students are always ‘shaking the tree,’ making you question your habits, certitudes, and automatisms and reconsider all the time why you think and/or do things the way you do. They certainly learn from the experience, but we learn at least as much as they do!”

Bottici, who trained as an opera singer before turning to philosophy and writing, created the libretto after the initial text was developed through an open-source process that unfolded on Public Seminar — an online journal of ideas, politics, and culture. The libretto begins with a synopsis that places the audience and performers within a city that has decided to radically re-organize itself “by adopting the principle of accelerated change and apply[ing] it to all and every aspect of social life. The result is a utopian (or dystopian) world that may (or may not) turn out to be ours.”

“What I did to find the beginning of the story was taking the idea of change and pushing it to the complete extreme, so that it would reveal its inherent metaphysical structure,” says Bottici. “So I started to work with that idea, inhabit that space. What the opera does is bring out possible contours. We published the first version of the libretto; we did the prelude; we asked people to intervene and suggest. And in this process, what became clear was that, well, maybe that world is not a distant utopian or dystopian world; maybe it’s actually the world we are living in.”

The opera showcases a utopia that can serve as a magnifying glass for audiences, helping them understand their own situations while they enjoy the made-up world on stage. Bottici hopes that people leave the opera with questions about the imagined world they just saw onstage, and the one they currently live in. 

“I hope that they discover all sorts of new ideas which make them think about what needs to be changed in our world,” says Barrière. “Moreover, I hope it convinces them that it is time to move forward and actually change this world, because it needs it!”

NSSR Students Mark 100 Years of Radical Education

Photo credit: New School Archives

“The New School opened with ‘eclat’ on February 10, 1919, bursting onto Manhattan’s cultural scene with an exciting program of Preliminary Lectures delivered by leading social scientists of the day.”
—Judith Friedlander, A Light in Dark Times: The New School for Social Research and Its University in Exile (Columbia University Press, 2019)

Those first lectures at The New School, then known as The New School of Social Research were the first act of a new academic institution born in protest. The New School’s founders included James McKeen Cattell and Henry Wadsworth Longfellow Dana, pacifist professors fired from Columbia University during World War I for refusing to sign an oath of loyalty to the United States. Other Columbia faculty soon resigned in solidarity, and together with other progressive intellectuals, they planned and opened a new school to “meet the needs of intelligent men and women interested in the grave social, political, economic, and educational problems of the day.”

The New School marked the centennial of this revolutionary act with the Festival of New, a weeklong festival in October of innovative performances, talks, workshops, screenings, exhibitions, and more open to all. 

The New School for Social Research began the Spring 2019 semester with a Centennial lecture series that tackled the themes of migration and mobility, democracy and populism, and economic inequality and the future of capitalism.

NSSR students took that line of critical reflection even further in Fall 2019. With funding from the NSSR Dean’s Office and from The New School, they produced conferences and events that explored NSSR’s history and examined the changing definition of what it means to be “new.”

THE NEW SCHOOL, THEN AND NOW

Photo credit: Joel de Lara

The institution envisioned in The New School’s 1919 Preliminary Lectures pamphlet is quite different than the university today. That distance between radical ideal and lived reality catalyzed Philosophy PhD student James Trybendis and candidates Teresa Casas Hernandez and Veronica Padilla to organize a conference around pedagogy, and how those 1919 ideals could be rearticulated today in the classroom experience. 

“It can’t just be the content [of classes] that’s radical,” says Casas Hernandez. “The form can be a bit stiff. We ask, ‘how can you use other disciplines and methods?’” 

The symposium brought together graduate students and faculty from NSSR and Parsons School of Design as well as Pratt Institute. With opening panelists Dr. Robert Kirkbride, P.J. Gorre, and Tara Mastrelli, the symposium began with a discussion of the history, founding philosophies, and possible future of The New School. Attendees then participated in collaborative workshops on belonging, posthuman life, and meaning facilitated by Scherezade Garcia-Vazquez, Eva Perez de Vega, Michele Gorman, and Dora Suarez that aimed at exploring innovative approaches to rethink pedagogy.

 “Philosophy happens in dialogue and in community,” Casas Hernandez says. “You need a community to think.”

Later, over ice cream, attendees discussed the ideas from the opening panel and the workshops and how they could apply what they learned in their own practices and classrooms. While it might be impossible to return to 1919, or to founding ideals that, in reality were never executed as written, the symposium was a chance to imagine what could be in the next 100 years. What’s important, says Casas Hernandez, is “having this space for discussion.”

AESTHETICS, POLITICS, AND THE CREATION OF THE NEW

Photo: Adrian Totten

Aryana Ghazi Hessami, a PhD student in Anthropology, and Adrian Totten, a PhD student in Politics, met in a Modernist Aesthetics class taught by Jay Bernstein, Distinguished Professor of Philosophy. 

It follows, then, that Symposium on Aesthetics, Politics, and the Creation of the New, the Centennial conference they created, was inherently interdisciplinary, a chance for participants from many backgrounds to examine, interrogate, and critique the aesthetic nature of politics and reflect on the foundation of The New School.

Hessami and Totten also had a perfect keynote speaker in mind: Hessami’s MA thesis advisor and NSSR Sociology alumnus Martin Plot, now Research Professor of Political Theory at the National Scientific and Technical Research Council and the Institute of Advanced Social Studies in Argentina.

In his 2014 book The Aesthetico-Political: The Question of Democracy in Merleau-Ponty, Arendt, and Rancière, Plot sought to overcome the binary between normative or analytic approaches to theories of democracy on one side, and Schmittian theories of sovereign decision on the other,  by turning toward the phenomenological tradition, which he argues “could give birth to a conception that fundamentally opposes the theological-political view from the position of an aesthetic–in the original sense of ‘aisthesis’–primacy of the plurality of perceptions and appearances in the understanding of the political.” Plot calls this new conception the aesthetico-political, and he expanded on that research and more in his Symposium keynote address, “Becoming Beginners: The Body of Necessity and the Body of Freedom in Arendt and Butler.” 

Before his address, the Symposium welcomed graduate students from NSSR, Princeton University, CUNY Graduate Center, the University of Chicago, the University of Costa Rica, and Goethe University, Frankfurt for two panels. The first, ‘The Birth of the New’ addressed philosophical and theoretical considerations of the question of the new in politics; Philosophy PhD candidate Veronica Padilla was the discussant. The second, ‘Aesthetics, Action, Politics,’ discussed empirical case studies  on the role of art and aesthetics in politics; Sociology PhD student Zoe Carey was the discussant. Panels were interspersed with mini ‘installations’ featuring presentations of works of art that touched on the Symposium’s theme of the relationship between art and politics.

SOUNDS FROM THE PAST

Covers from recent GFPJ issues

Since 1972, the student-run Graduate Faculty Philosophy Journal (GFPJ) has published essays and translations from some of the day’s leading philosophers and thinkers, including Axel Honneth, Judith Butler, Jürgen Habermas, Trân Duc Thao, and Wolfram Hogrebe.

Their archives run deep, and editorial board members and Philosophy PhD students Krishna Boddapati, Cayla Clinkenbeard, and Ceciel Meiborg discovered some audio treasures: recordings of lectures and conference presentations from major philosophers. While many of those transcripts had been published in the GFPJ and other outlets, some hadn’t ever been published, and few had heard the talks themselves after the fact.

“Last year we applied for the Centennial fund because we found these boxes of reel-to-reel tapes and cassettes, mostly recordings from the 70s and 80s, and it was a mix of lectures, conference presentations, seminars,” says Meiborg. Funding from The New School for ‘Philosophy Recorded: Celebrating 100 Years of Radical Thought at The New School’ helped the GFPJ begin to digitize the recordings, necessary to both preserve the recordings themselves and to allow GFPJ to hear them, since there was no reel-to-reel equipment at the university.

At the Night of Philosophy, a dusk-till-dawn celebration of learning held during the Festival of New, the GFPJ editorial board worked with Zed Adams, Associate Professor of Philosophy to hold a special listening session. A mix of 40 New School students and community members attended in the hopes of hearing snippets of lectures directly from Jacques Derrida, Hans Jonas, Paul Ricoeur, Hans-Georg Gadamer, and Charles Taylor. The in-room audio systems didn’t quite work, remembers Meiborg, and the group improvised by playing the recordings on a smartphone held up a microphone. 

The GFPJ is continuing to digitize recordings and assess ownership rights for publishing audio files; Meiborg says there’s nothing like hearing the recordings themselves, parsing through the cadences of speech and thick accents. Plans are in the works to publish what they can in written form; a transcript of the Jonas lecture on the responsibility of philosophers and artists, and three lectures by past NSSR professor Aron Gurwitsch on philosophy of mathematics, will appear in the forthcoming Fall 2019 (40:2) Centennial issue.

Revival Magazine Examines the State of the Left

Revival on 15th Street, a cheap bar with a patio, became a regular spot for the NSSR community to meet for a post-class drink near campus. One particular group of graduate students routinely went to Revival together every Friday night. They would talk about The New School, the chaos of graduate life, and the intricacies of leftist ideologies and movements happening in, around, and far from the university. These discussions soon became the inspiration to start their own magazine.

“The idea to establish Revival Magazine originated from the realization that The New School, and in particular NSSR, lacks accessible and student-led spaces where we can exchange ideas and arguments that are not academic in nature,” says founding co-editor and Economics MA student Ruben Brockbreder. “We wanted to create Revival to document these conversations, which, while most passionately delivered in the dim light of the bar and animated by Friday night spirits, would often dissipate within daily routine and university madness.” 

“All That’s Left”

The first issue of Revival launched in May of 2019, entitled “All That’s Left.”  “The quite gloomy title for Issue I describes our attempt to collect or survey the condition of leftist movements and parties around the world,” Brockbreder says.

The issue featured three sections: commentaries on the state of the left in seven different countries; research briefs spotlighting the work of MA and PhD students in NSSR’s Three-Minute Thesis Challenge; and art and essays on themes of labor, alienation, and a sense of belonging in and near the left. Submissions came from across NSSR, representing how social science students are grappling with today’s most pressing issues.

Ye Liu, a Sociology PhD candidate, wrote a commentary on China:

Amy Osika, a Historical Studies MA student, explored the use of satire by the New Left and the U.S. counterculture for social and political critique in 1960s.

P.J. Gorre, Philosophy PhD candidate and Coordinator of Academic Affairs at NSSR, shared advice from his mother amid difficult times.

Kalpa Rajapaksha, an Economics PhD student, presented photographs from “beyond the horizons of capital in New York City.”

Making a Magazine

But as Brockbreder tells Research Matters, an idea is far from enough to make a magazine materialize from scratch. The original team of five editors found funding for Revival through NSSR’s MA Project Grant, which provides support for initiatives launched by MA students that focus on learning, research, and community-building. 

“From the very beginning, we all agreed that we wanted to produce a physical rather digital product that we could ‘hold in our hands and pass around’. From getting submissions for essays and artwork, to editing and finally printing and binding, everything in setting up Revival, in fact, has been refreshingly physical,” Brockbreder says. They printed and bound the magazine by hand at Parsons Making Center, with a digital copy created as an archive. 

Isobel Chiang, a Creative Publishing and Critical Journalism MA student and Revival’s art director, has worked as a publishing fellow with the New Republic and as an assistant at both the Parsons School of Design and at a New York City design firm. She points to the Parson’s Graphic Design Lab and its technician, Joe Hirsch, as major resources for producing the physical magazine. She included her notes on design and layout in the arts section of Revival:

“Our goal when typesetting and laying out Revival was not to make a magazine that succumbs to stale associations of leftism (the color red, images of people protesting, stars, etc.),” she writes. “Our goal, instead, was to somehow carry over the spirit of the left into a print product.” The magazine uses only three colors on uncoated paper.

Publication design is an essential part of the Creative Publishing and Critical Journalism (CPCJ) curriculum. All CPCJ MA students take Design and the Future of Publishing, a hands-on studio course investigating typography, book and pamphlet design, digital printing, content on the web, and ideation. They also examine contemporary issues that cross design and publishing through readings and analysis of contemporary books, magazines, and periodicals across both printed and digital platforms. Every spring, Parsons School of Design undergraduates join CPCJ students in multidisciplinary teams that work to create conceptual publishing projects — a truly New School-only experience.

Looking Left of The New School

Buoyed by student response and a second MA Project Grant, Revival’s editors are working on its second issue, “For our second issue, we now want to shift the focus from the global to the local to focus on the movements and debates organized by New School students and workers,” Brockbreder says. 

Submissions for the second issue should touch broadly on the relationship between leftist ideas and ‘liberal institutions,’ such as The New School, timely in the year of its centennial. Some topics suggested in the call for submissions include how the New School’s health insurance policy is affecting students, the meaning and symbolism of sanctuary schools, and labor organizing on campus and at other academic institutions. 

As the first issue told us, “We want to continue thinking beyond academia; coming from within but looking beyond. This is an attempt at reviving that tradition.”


If you would like to write for Revival, please email revivalmag@newschool.edu with a brief pitch of your idea; the essay does not have to be written at this point in time. If you have a complete essay, please submit that as an attachment with a brief summary of the essay in the body of your email. The submission deadline is December 15, 2019.