Waiting for Eucatastrophe: On Katy Carl’s “As Earth Without Water” and Joshua Hren’s “Infinite Regress”
John-Paul Heil finds a yearning for utopia in “As Earth Without Water” by Katy Carl and “Infinite Regress” by Joshua Hren.
John-Paul Heil finds a yearning for utopia in “As Earth Without Water” by Katy Carl and “Infinite Regress” by Joshua Hren.
Kate Wolf and Medaya Ocher are joined by Renee Gladman to speak about her latest book, "Plans for Sentences."
Ellen Wayland-Smith explores the meanings of exile and impermanence “Red Paint: The Ancestral Autobiography of a Coast Salish Punk” by Sasha taqʷšəblu LaPointe.
C. Francis Fisher considers “Earth Room,” the debut collection of poems by Rachel Mannheimer.
Eleanor J. Bader interviews Shelly Oria about her latest anthology, “I Know What’s Best for You: Stories on Reproductive Freedom.”
Dante A. Ciampaglia looks back over the long career of avant-garde film pioneer Jonas Mekas.
Following the 80th anniversary of Executive Order 9066, Erin Aoyama reflects on the uses of Japanese American memory work.
Robert Cremins remembers the “tattered humanism” of the fine, now sadly neglected, English novelist Angus Wilson.
Dick Cluster profiles the Los Angeles–born, Texas-based small-press poet and publisher Edward Vidaurre.
Daniel Polansky reviews “Me, Detective,” Leslie T. White’s memoir of his experiences in the LAPD that served as inspiration for Raymond Chandler’s Marlowe.
Lukas Moe considers the recent trend of “quit lit” and the bleak economic prospects of academia.
Kieran Setiya finds provocative questions in “Losing Ourselves: Learning to Live without a Self” by Jay L. Garfield.
Wayne Catan connects with “Miss Chloe: A Memoir of a Literary Friendship with Toni Morrison” by A. J. Verdelle.
Samuel Clowes Huneke reviews “Munich: The Edge of War” by placing it in its proper historical-cultural context.
Janet Fitch takes a tour of “Ways of Walking,” a collection of essays edited by Ann de Forest.