Equal parts compelling and devastating ly insightful\, Jia Tolentino’s writing takes us deep insi de the constructs and consequences of the age of social media\, reality tel evision\, and the “feverish\, electric\, unlivable hell” that is the intern et. Author of the instant New York Times bestselling collection of essays Trick Mirror\, Tolentino’s work deftly mixes reporting\, r esearch\, and personal history to shed light on the realities of our hyper- digital society.
This year’s Phil Lind Initiative takes a look at “po p politics” through the lens of artists who have used their craft to take a political stance. The 2024 series Pop Politics offers a novel and nuanced e xploration of how pop culture has influenced and shaped how we understand\, experience\, and practice politics in the United States.
Her Phil Li nd Initiative talk—Who's Afraid of Eating the Rich?—will focus on the recent waves of TV shows and media that make the argum ent\, with varying degrees of sophistication and subtlety\, that extreme we alth is unjust\, immoral\, and corrosive to the human soul. What does this mean\, when income inequality is only worsening and poverty itself is almos t entirely absent from media and pop culture? Is critique in this case a re lease valve\, a sign of unrecognized popular radicalism\, or a form of elit e capture? How might this change the way we think about our affective relat ionship to capitalism today?
Lauded as “an expert in the sweet spot w here contemporary politics and youth culture meet and make out” (Vultur e)\, Jia Tolentino is a staff writer at the New Yorker and fo rmerly was the deputy editor at Jezebel and a contributing editor at the Hairpin. She grew up in Texas\, received her undergraduate degree at the University of Virginia\, and got her MFA in fiction from the University of Michigan. In 2020\, she received a Whiting Award as well as t he Jeannette Haien Ballard Prize. She lives in Brooklyn.
“Tolenti no writes with an inimitable mix of force\, lyricism and internet-honed hum or. She is the only writer I’ve read who can incorporate meme-speak into he r prose without losing face.” – The New York Times
T he Phil Lind Initiative is presented by UBC’s School of Public Policy and Gl obal Affairs in partnership with the Chan Centre for the Performing Ar ts.
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