A Tax Haven in a Heartless World: On Melinda Cooper’s “Counterrevolution”
Sarah Brouillette reviews Melinda Cooper’s “Counterrevolution: Extravagance and Austerity in Public Finance.”
Sarah Brouillette reviews Melinda Cooper’s “Counterrevolution: Extravagance and Austerity in Public Finance.”
Jayson Buford revisits Curtis Hanson and Eminem’s “8 Mile.”
Zachary Gillan reviews Marina Yuszczuk’s “Thirst.”
Francesca Peacock reviews Lucas Rijneveld’s “My Heavenly Favorite.”
Josh Billings reviews Matthew J. C. Clark’s “Bjarki, Not Bjarki: On Floorboards, Love, and Irreconcilable Differences.”
Tom Allen reviews Hannah Proctor’s “Burnout: The Emotional Experience of Political Defeat.”
Ned Resnikoff reviews Pamela Robertson Wojcik’s “Unhomed: Cycles of Mobility and Placelessness in American Cinema.”
Lazz Kinnamon reviews Constance Debré's "Playboy."
Shannon Scott reviews Elizabeth Hand’s “A Haunting on the Hill.”
Eric Gary Anderson reviews Theodore C. Van Alst Jr. and Shane Hawk’s “Never Whistle at Night: An Indigenous Dark Fiction Anthology.”
Elizabeth Metzger reviews Jean Valentine’s “Light Me Down: The New & Collected Poems of Jean Valentine.”
Sarah Moorhouse reviews Eli Friedlander’s “Walter Benjamin and the Idea of Natural History.”
Leah Mandel reviews Emmeline Clein’s “Dead Weight: Essays on Hunger and Harm.”
Julia Gunnison reviews Radu Jude’s “Do Not Expect Too Much from the End of the World.”
Emmeline Clein reviews the reissued edition of Heather Lewis’s “Notice.”
Lori Marso reviews Christine Smallwood’s book on “La Captive” (Chantal Akerman, 2000).