BAFFLER FOUNDATION
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Mission Statement
The Baffler, est. 1988, is a printed and digital magazine of art and criticism appearing three times annually—spring, summer, and fall. We’re headquartered in Cambridge, Massachusetts; edited by Lindsey Gilbert, Lauren Kirchner, Chris Lehmann, and John Summers; designed by Patrick Flynn; and delivered to subscribers in all fifty U.S. states. Contributing editors include Barbara Ehrenreich, Susan Faludi, and David Graeber. Our founding editor is Thomas Frank. We’re owned by the tax-deductible (hint, hint) Baffler Foundation Inc., which is as charitable as a church, and a whole lot more fun. This foundation means we rely on your donations and subscriptions rather than chasing advertising. It also means we can’t endorse candidates for electoral office or try to make millions in profit. But hey, why would we want to do those things anyway?
About This Cause
Lo and behold, The Baffler is now publishing on its most prolific schedule since it first stirred to life. Each new issue features our signature salvos in cheerfully independent cultural criticism, plus poems, stories, and illustrations agile and vivid enough to call adverse attention to the illusions propping up the leadership class. Old Baffler hands like Thomas Frank, Chris Lehmann, and Rick Perlstein have returned to fine fettle in the magazine’s refreshed pages, alongside a corp of new contributors that includes Andrew Bacevich, Nicholson Baker, Barbara Ehrenreich, Susan Faludi, David Graeber, Jaron Lanier, Evgeny Morozov, and William T. Vollmann. In 2013, we copublished a book, James Agee’s Cotton Tenants, a long-forgotten manuscript about long-forgotten farmers living through the country’s last Great Depression. And this year, we’re out with a collection of the new stuff, No Future for You. Good luck finding a more concentrated antagonism toward the contradiction that is “business civilization.” Yes, the time has finally come for the magazine that’s been filing advance memoranda on the American comedy for twenty-five years, observing the occult ways that business talks all of us into profitable stagnation and culture-free innovation. Our quest to unthink the brands of today finds us spoiled for choice—in no time at all, we’ve covered digital swindles like LinkedIn, Kickstarter, and Facebook-branded feminism to banality shops like The Atlantic and This American Life, hip cool cities like Berlin, and curious distillations of pretend meritocracy, like Harvard. Our recent satires and tearjerkers have gone into French, German, Greek, Italian, Mandarin, Polish, and Spanish, annoying thought leaders in those languages too. Even in the upper reaches of U.S. media, the most censored in the de-developing world, these tales have been singled out for praise as has the generally high quality of our discontent. The social crisis steadily erodes the market consensus that’s brought us a quarter century of wreck and folly. Yet the best that our most influential thought leaders can do is scratch after business as usual—concessions to the richest and sacrifices by the rest of us—to unlock the heavenly door of prosperity once again. Well, we were present at prosperity’s uncreative destruction. Now we want a new alternative—not a return, even in the best of the cases now put to us, to staffing cubicles and factories; puffing trends in fashion; chasing career success via trampling, tricking, and elbowing; or consuming fake culture. No, thank you. We have seen that future, and it doesn’t work. Opposed to all that and more, our writers and artists offer a camaraderie of truth, humor, and irony—an asylum from crackpot economics and carnival hokum. And since this is the part where you are begged to remember that all this mockery and analysis can go only so far without your support, please do, if you like what you see and hear, consider subscribing or donating.