Ways and Means
Carey Mott reviews Andrea Louise Campbell’s “Taxation and Resentment: Race, Party, and Class in American Tax Attitudes” and Ruth Braunstein’s “My Tax Dollars: The Morality of Taxpaying in America.”
Carey Mott reviews Andrea Louise Campbell’s “Taxation and Resentment: Race, Party, and Class in American Tax Attitudes” and Ruth Braunstein’s “My Tax Dollars: The Morality of Taxpaying in America.”
Shaan Sachdev explores Pankaj Mishra’s “The World After Gaza: A History,” moral authority, and a generation of young dissenters.
Eric Newman speaks with director Sam Feder and producer Amy Scholder about their new documentary “Heightened Scrutiny.”
Winnie Code considers Andrew DeYoung’s debut feature film “Friendship.”
Tiff Dressen interviews Aaron Shurin about “Elixir: New and Selected Poems.”
Ben Arthur revisits a transformative moment in American culture through the lens of J. Hoberman’s “Everything Is Now: The 1960s New York Avant-Garde—Primal Happenings, Underground Movies, Radical Pop.”
Tess Pollok interviews Olivia Kan-Sperling about her debut novel, “Little Pink Book.”
Michael Kurcfeld interviews Lawrence Lek about his Frieze London exhibition “Guanyin: Confessions of a Former Carebot.”
Cameron Engwall talks with Erica Peplin about “Work Nights,” her debut novel.
Geertje Bol and Jan Eijking review “Erased: A History of International Thought Without Men,” by Patricia Owens.
Michael Kobre considers the Fantastic Four superhero “The Thing” and Jack Kirby’s relationship to his own Judaism.
Priya Gandhi explores Hilma af Klint’s studies of nature.
Dashiel Carrera speaks with Christian Bök about his ongoing poetry project, “The Xenotext.”
Ed Pulford reviews Ben Nathans’s “To the Success of Our Hopeless Cause: The Many Lives of the Soviet Dissident Movement” and Perry Link and Wu Dazhi’s “I Have No Enemies: The Life and Legacy of Liu Xiaobo.”
Erik J. Larson thinks about “Mindless: The Human Condition in the Age of Artificial Intelligence,” which traces Robert Skidelsky’s philosophical reckoning with AI, automation, and the illusion of progress.
Caroline Hagood explores Jason Weiss’s “Other Lives Our Own,” a collection she hears in spectral conversation with the work of Kendrick Lamar and Agnès Varda.