Ask Not What Your Robot Can Do for You, but What You Can Do for Your Robot
Jerrine Tan visits a LOVOT robotics lab and is unexpectedly enchanted.
Jerrine Tan visits a LOVOT robotics lab and is unexpectedly enchanted.
What does the future hold for US–China relations, and what does it mean to be realistic about that future?
Does nostalgia for the old East Berlin come from a deeper longing for socialism?
In a preview of LARB Quarterly no. 39: “Air,” Tosten Burks surveys the new philosophy and syntax of basketball writing.
Emily Tamkin documents her Jiří Menzel binge and explains how and why his films hold up so well today.
Through analysis of Meg Kissinger’s “While You Were Out: An Intimate Portrait of Mental Illness in an Era of Silence” and Rachel Aviv’s “Strangers to Ourselves: Unsettled Minds and Stories that Make Us,” Isabel Ruehl contemplates the role of storytelling in perpertuating mental illness.
In a preview of LARB Quarterly no. 39: “Air,” Katie Kadue breaks down the misogynist history of the rape joke.
Farah Ahamed on how men reacted to her book about menstruation—by explaining menstruation.
Mikkel Krause Frantzen explores emotions at the end.
Sumana Roy on how the vernacularization of the English language has affected Indian political and cultural life.
Elle Kurancid writes about the aftermath of the earthquake in Syria, with documentary photographs by Walaa Alshaer.
Émile P. Torres describes how it was not the dropping of the atom bombs in 1945 but the testing of a nuclear bomb is the Marshall Islands in 1954 that marked the moment when people became preoccupied with human extinction.
“Fleischer’s Animated News,” an animation industry comic from the 1930s, satirized working conditions similar to those motivating the Hollywood strikes today, as Paul Morton discusses.
Colin Flynn remembers learning from David Foster Wallace and Jonathan Lethem.
Gary Edward Holcomb considers the suppressed legacy of Claude McKay’s two “lost” novels, “Amiable with Big Teeth” and “Romance in Marseille.”
Henry M. J. Tonks explains how Lawrence Kasdan’s “The Big Chill” gets generational politics all wrong—and why we still need to watch it.