Bringing Back New Concepts to This Mad City
Caroline Hagood explores Jason Weiss’s “Other Lives Our Own,” a collection she hears in spectral conversation with the work of Kendrick Lamar and Agnès Varda.
Caroline Hagood explores Jason Weiss’s “Other Lives Our Own,” a collection she hears in spectral conversation with the work of Kendrick Lamar and Agnès Varda.
Hattie Lindert listens to Justin Bieber’s “SWAG.”
Tia Glista watches Eva Victor’s directorial debut, “Sorry, Baby.”
Amelia Anthony aims to separate the art from the artist while reading James Miller’s “The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films.”
Tim Riley reviews Alan Siegel’s “Stupid TV, Be More Funny: How the Golden Era of ‘The Simpsons’ Changed Television—and America—Forever.”
Brad East reviews Jerome E. Copulsky’s “American Heretics: Religious Adversaries of Liberal Order.”
Yael Friedman looks at a recent book, exhibition, and film on photographer Larry Fink.
Anna Aguiar Kosicki considers Cora Lewis’s debut novel “Information Age.”
M. G. Lord watches National Geographic’s new documentary “Sally.”
Matthew K. Ritchie considers Clipse’s new album “Let God Sort Em Out,” the Virginia rap duo’s reunion, and the rarity of a principled artistic existence.
Chelsea Davis hangs out with dead people in Silvia Moreno-Garcia’s “The Bewitching.”
Grace Linden considers Kate Briggs’s new translation of “Lili Is Crying,” by Hélène Bessette.
Gideon Leek evaluates Michael Clune’s debut novel, “Pan.”
Cory Oldweiler reviews Norwegian author Linn Ullmann’s novel “Girl, 1983,” newly translated by Martin Aitken.
Max Callimanopulos reviews the new edition of John Gregory Dunne’s classic “Vegas: A Memoir of a Dark Season.”
Christopher F. Jones disagrees with large portions of Ezra Klein and Derek Thompson’s “Abundance”—in particular, the notion that we can “build” ourselves out of our national problems using technology.