Being Free, Being Faithful, Being Responsible for Extinction
Kate Sadoff, surrounded by fruiting L.A. bodies, ponders the fungus among us at Jennifer Croft’s “Extinction of Irena Ray” reading in Brentwood.
Kate Sadoff, surrounded by fruiting L.A. bodies, ponders the fungus among us at Jennifer Croft’s “Extinction of Irena Ray” reading in Brentwood.
Renee Hudson reviews Xochitl-Julisa Bermejo’s “Incantation: Love Poems for Battle Sites.”
Svetlana Satchkova reviews Sasha Vasilyuk’s “Your Presence Is Mandatory.”
The recent outpouring of literary works from Latin America leads Emily Quintanilla to unearth Dick Cluster’s profile of Texas’s own FlowerSong Press...
After reading Jason A. Heppler’s “Silicon Valley and the Environmental Inequalities of High-Tech Urbanism,” Patrick McCray decides that Silicon...
In honor of National Talk Like Shakespeare Day, Frank Bergon writes about Shakespeare’s possible use of the Basque language.
Your climbing guide Kate Sadoff offers you a “peak” at the release reading of Will Cockrell’s “Everest, Inc.: The Renegades and Rogues Who Built an...
For Earth Day, Bill McKibben speaks with Elizabeth Kolbert about climate change and her new book “H Is for Hope: Climate Change from A to Z.”
Dorothy Berry reviews Laura Helton’s “Scattered and Fugitive Things: How Black Collectors Created Archives and Remade History.”
Maya Chen attends “Funny Girl” to find the music that makes her dance, even with a sprained ankle.
Robert P. Crease reviews Adam Frank, Marcelo Gleiser, and Evan Thompson’s “The Blind Spot: Why Science Cannot Ignore Human Experience.”
Shoshana Olidort reviews Mireille Gansel’s “Soul House.”
A double-header episode about two new novels that each feature high stakes feats of translation.
Brittany Menjivar reviews Nicolette Polek’s “Bitter Water Opera.”
Dashiel Carrera reviews Nicolette Polek’s “Bitter Water Opera.”
Office-core hyperobjects give Chase Bucklew the technocreeps at Katherine Behar’s UC Irvine solo exhibition.