Form, Object, Art
Caroline Tracey probes the experimental book-art of Mexican author Verónica Gerber Bicecci.
Caroline Tracey probes the experimental book-art of Mexican author Verónica Gerber Bicecci.
Agnes Borinsky appreciates all the ways Vivian Blaxell’s does transness in her book-length essay “Worthy of the Event.”
David Shipko explores climate denialism in speculative literature and culture.
David Louis Zuckerman explores crisis and awakening in Amalia Ulman’s film, “Magic Farm,” at the 2025 Los Angeles Festival of Movies.
Ryan Teitman dives into Rosalie Moffett’s new collection of poems, “Making a Living.”
From the perspective of her own experience as a neurologist, Pria Anand critically reads Michael Erard’s “Bye Bye I Love You: The Story of Our First and Last Words.”
Sarah Moorhouse explores Edward Wilson-Lee’s “The Grammar of Angels: A Search for the Magical Powers of Sublime Language.”
Eric Newman speaks with journalist and author Vauhini Vara about her new book “Searches: Selfhood in the Digital Age.”
Ed Simon considers the invitation from Ross Douthat to believe in a deity.
Benjamin Paul considers Mary Helen Callier’s debut poetry collection, “When the Horses.”
Diana Heald reviews Sophie Gilbert’s “Girl on Girl: How Pop Culture Turned a Generation of Women Against Themselves.”
Sasha Vasilyuk interviews Boris Fishman about his latest novel, “The Unwanted.”
Mieke Marple reviews the new anthology “Who Is Government? The Untold Story of Public Service,” edited by Michael Lewis.
Laura Wetherington interviews Mia You about “Festival.”
Ellen Wayland-Smith admires how Robert Macfarlane’s “Is a River Alive?” places the reader in immersive contact with the nature we regard as mere backdrop to human activity.
Tom Johnson interviews Nick Owchar about his novel “A Walker in the Evening.”