Who Needs a “National” Music?: On Joseph Horowitz’s “Dvořák’s Prophecy: And the Vexed Fate of Black Classical Music”
Horowitz’s book brims with detailed examples but its larger argument is unconvincing.
Horowitz’s book brims with detailed examples but its larger argument is unconvincing.
Nathan Blansett considers “Against Silence” by Frank Bidart.
Birte Meier delivers a lecture as part of “55 Voices for Democracy.”
Gabino Iglesias chases down “Harlem Shuffle,” a crime novel by Colson Whitehead set in 1960s Harlem.
Mieko Anders uncovers traces of Afro-Asian collaboration in Wes Anderson’s “The French Dispatch.”
Mariah Stovall explores white musicians’ attempts to achieve nuance by using the N-word in their lyrics.
Adèle Cassigneul compares two recent monographs on the landmark feminist film “Wanda” (1970).
Natan M. Meir reviews the recently published book by Jonathan Freedman, “The Jewish Decadence: Jews and the Aesthetics of Modernity.”
Dana Gioia celebrates the achievement of fellow Californian poet Shirley Geok-lin Lim.
Suzanne Van Atten discusses the scope and complexity of Imani Perry’s explorations of race and the South.
Jack Mearns examines Robert M. Coates’s “Wisteria Cottage,” a midcentury psychological noir from an author too often overlooked.
The late album-cover designer had a singular sensibility as recognizable as Lichtenstein’s or Kandinsky’s.
Philippa Snow reviews And Just Like that..., HBO Max's sexless, zombified, tragicomic return to Sex and the City
A great Turkish cult novel of the early ’70s is available in English translation (sort of).
Margot Mifflin reviews Catherine McCormack’s “Women in the Picture: What Culture Does with Female Bodies.”