Performing Is Learning: A Teacher’s Memoir
Poet David Mason reflects on a lifetime of teaching literature as performance.
Poet David Mason reflects on a lifetime of teaching literature as performance.
Zabe Bent calls out white people’s languid social commitments in the face of police killings of Black people.
Dan O’Brien talks with Paul Watson, a prize-winning war reporter, about Afghanistan, Ukraine, and why most journalism is bullshit.
Grant Wythoff surveys recent books by Tade Thompson, Becky Chambers, and Arkady Martine that could be called space operas.
Coining such a deficient framework as “patriotic capitalism,” Ro Khanna exemplifies the limits of centrism.
In Nell Zink’s “Avalon,” Huda Awan finds renewed hope for romance.
Eiren Caffall explores Fábio Zuker’s writing about ecological collapse and resistance.
Shelly Oria returns to speak with Kate Wolf about her latest anthology, "I Know What's Best for You: Stories on Reproductive Freedom."
A sprawling history of the compromises, breakthroughs, and mistakes of the Democratic Party.
Dane Reighard considers how del Toro adapted a 1946 noir and, in the process, uncovered its contemporary resonances.
Jon Catlin examines critical disaster studies through a series of books, the problematic cornerstone being David Thomson’s “Disaster Mon Amour.”
Rachel Hadas hearkens to “p e e p,” an Anthony Hecht Poetry Prize-winning collection by Danielle Blau.
Molly Bendall takes on “Poem That Never Ends” by Silvina López Medin.
Christie’s classic whodunit is a brilliant parlor trick of deception and misplaced empathy.
Grégory Pierrot interviews French filmmaker Amandine Gay about her 2021 documentary on transracial adoption.
Grace Loh Prasad speaks with Vanessa Hua about her new novel, “Forbidden City.”