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At Tammy Wynette’s Grave, Woodlawn Memorial Park, Nashville
Drew Bratcher meditates on the legacy of a country music legend.
All Essays
Jodie Hollander’s ‘The Ouija Board’
Jodie Hollander describes the imprisonment of fame, in a poem from LARB Quarterly no. 47, ‘Security.’
Tess Taylor’s ‘Three Notebooks’
Tess Taylor captures fragments of dream text, blank invitations, and stored receipts, in a poem from LARB Quarterly no. 47, ‘Security.’
Anna Journey’s ‘I Object to the Etymology of Sacrum’
Anna Journey writes on the ‘site of infernal nerve spark and spasm,’ in a poem from LARB Quarterly no. 47, ‘Security.’
We Are Close, We Are Almost There
Zachary Gillan reflects on Jeffrey Ford’s ‘Well-Built City Trilogy’ in the era of resurgent fascism.
Two Poems by Dalia Taha
Dalia Taha writes on Palestine and the messages etched into the land, in two poems from LARB Quarterly no. 47, ‘Security,’ translated by Sara Elkamel.
Designing Feminism or Fascism?
Harley Wong on fashion designer Dilara Findikoglu’s ‘Cage of Innocence’ presentation in light of Edith Wharton’s fiction.
Rhoni Blankenhorn’s ‘Mirror’
Rhoni Blankenhorn confronts her changing self, in a poem from LARB Quarterly no. 47, ‘Security.’
Mug Shot Matriarchy
Jake Flanagin examines how reality TV juggernaut Bravo and its ‘Real Housewives’ spin criminality into character development—and ratings gold.
Everybody Loves a Lover
Janna Jones writes about the history and resonances of ‘Love Tapes,’ Wendy Clarke’s 1980s video project.
Paint, Personae, and the Mysteries of (Not) Making It
Jeff Stimmel considers the art and tumultuous life of Chuck Connelly.
Cowardice
In a story from LARB Quarterly no. 47: “Security,” Hannah Liberman’s narrator—who has a “lemon-sized” tumor in her throat—faces a possible cancer diagnosis that forces her to confront her memories, relationships, and losses.
Keeping House
Marina Magloire writes on the Clifton House, the Pamoja workshop, revolution, and refuge, in an essay from LARB Quarterly no. 47: “Security.”
Airbrushed Tan Lines
Whitney Mallett visits a porn shoot in Spain.
When Story Loses the Plot
Hannah H. Kim ponders the plotless narrative as a tool for meaning-making.
He Understood Us
Carrie Courogen remembers the cross-genre brilliance of Rob Reiner’s filmmaking.
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