“The Scourge of Relatability.”

In the wake of Ira Glass’ “Shakespeare sucks” tweets, Rebecca Mead bemoans the phenomenon of “relatability” in art: To appreciate “King Lear”—or even “The Catcher in the Rye” or “The Fault in Our Stars”—only to the extent that the work functions as one’s mirror would make for a hopelessly reductive experience. But to reject any work […]