Deep Is the Well: On Mark Jenkin’s “Enys Men” and a Cinema of Absence
Thomas M. Puhr discusses absence in cinema, specifically art horror, through a philosophical lens and Mark Jenkin’s film “Enys Men.”
Thomas M. Puhr discusses absence in cinema, specifically art horror, through a philosophical lens and Mark Jenkin’s film “Enys Men.”
Kurt David reviews Becky Chambers’s Monk and Robot series, “A Prayer for the Crown-Shy” and “A Psalm for the Wild-Built.”
Many decades before generative AI, the writer J. M. Coetzee actively engaged with machine voices, says Andrew Dean, and also grappled with the perils of “automatism,” as he called it, the tendency of language to reproduce itself.
Anjum Hasan reviews three recent novels relating to China: Yiyun Li’s “The Book of Goose,” Lu Min’s “Dinner for Six,” and Xiaolu Guo’s “A Lover’s Discourse.”
Roger Luckhurst reviews M. John Harrison’s “Wish I Was Here: An Anti-Memoir.”
Ken McLeod reviews Andy Karr’s “Into the Mirror: A Buddhist Journey Through Mind, Matter, and the Nature of Reality.”
Leigh-Michil George reviews Shondaland’s “Queen Charlotte,” and asks about the nature of the game being played.
Randal Maurice Jelks reviews three books about the African American experience in war: Beth Bailey’s “An Army Afire: How the US Army Confronted Its Racial Crisis in the Vietnam Era,” Matthew F. Delmont’s “Half American: The Epic Story of African Americans Fighting World War II at Home and Abroad,“ and Chad L. Williams’s “The Wounded World: W. E. B. Du Bois and the First World War.”
Grace Linden reviews Nicole Flattery’s “Nothing Special.”
Camille Ralphs explores the use of etymology in contempory poetry, especially through the lens of Walter Ancarrow’s “Etymologies.”
Gary Cross reviews Darryl Holter and Stephen Gee’s “Driving Force: Automobiles and the New American City, 1900–1930.”
Nile Green reviews Nicholas Morton’s “The Mongol Storm: Making and Breaking Empires in the Medieval Near East.”
The poet and longtime art critic John Yau joins Kate Wolf and Eric Newman to speak about his latest collection of criticism, “Please Wait By the Coatroom: Reconsidering Race and Identity in American Art.”
Ignacio M. Sánchez Prado explains why humanities scholars need to articulate a more robust defense of their disciplines.
Hector Villagra reviews Joanna Schwartz’s “Shielded: How the Police Became Untouchable.”
Victoria Chang and Dean Rader review Will Harris’s “Brother Poem” and Evie Shockley’s “Suddenly We.”