Only by Being Terrible Do They Avoid Being Comic
Sarah AlKahly-Mills explores James Bloodworth’s “Lost Boys: A Personal Journey Through the Manosphere.”
Sarah AlKahly-Mills explores James Bloodworth’s “Lost Boys: A Personal Journey Through the Manosphere.”
Agnieszka Dale considers Antonia Lloyd-Jones’s new anthology “The Penguin Book of Polish Short Stories.”
Erin Giannini reviews “The End of the World as We Know It: New Tales of Stephen King’s ‘The Stand,’” edited by Christopher Golden and Brian Keene.
Asa Drake reviews Harryette Mullen’s “Regaining Unconsciousness.”
Cassandra Seltman on the plumbing paintings of Harry Davies
Jennifer Kabat writes on Lynne Tillman and her new collection, “Thrilled to Death.”
Hamilton Cain reviews Gary Shteyngart’s “Vera, or Faith.”
Rhoda Kwan reviews two newly translated novels reckoning with China’s bloody past, Fang Fang’s “Soft Burial” and Tsering Döndrup’s “The Red Wind Howls.”
Mitchell Abidor reviews the reprint edition of Roger Shattuck’s “The Forbidden Experiment: The Story of the Wild Boy of Aveyron.”
Edward Watts reviews Josiah Osgood’s “Lawless Republic: The Rise of Cicero and the Decline of Rome.”
Darren Wan reviews Hai Fan’s “Delicious Hunger,” translated by Jeremy Tiang, as well as Tiang’s own novel, “State of Emergency.”
Elizabeth Alsop reviews “The Studio,” “The Franchise,” and other recent industry satires.
Amanda Hawkins explores Michael M. Weinstein’s new poetry collection “Saint Consequence.”
Alison Laurence reviews “Jurassic World Rebirth” in the context of de-extinction developments.
Laurie L. Levenson cross-examines Leah Litman’s “Lawless: How the Supreme Court Runs on Conservative Grievance, Fringe Theories, and Bad Vibes.”
Eliana Rozinov analyzes the interplay between two recent shows, “Sirens” and “Hacks.”