Autofiction’s Primal Scene
Jon Repetti returns to the scene of writing in Catherine Lacey’s new novel “The Möbius Book.”
Jon Repetti returns to the scene of writing in Catherine Lacey’s new novel “The Möbius Book.”
Matthew D. LaPlante considers the perils of complicity in Boris Fishman’s novel “The Unwanted.”
Billy J. Stratton examines Stephen Graham Jones’s “The Buffalo Hunter Hunter.”
Danielle Chelosky examines Michel Houellebecq’s “Annihilation,” translated by Shaun Whiteside.
Arnaud Gerspacher considers “Sad Planets” by Dominic Pettman and Eugene Thacker.
Evan Hill finds himself mired down in Alex Garland’s “Warfare.”
Ikechúkwú Onyewuenyi attends an exhibition of Bruce Nauman’s early work, at Marian Goodman Gallery in Los Angeles.
Anne Anlin Cheng looks deeper into Ryan Coogler’s new film “Sinners” and its violent exploration of racial oppression.
Kieran Setiya reviews Christoph Schuringa’s “A Social History of Analytic Philosophy.”
Isabelle Stuart examines Megan Hunter’s new novel, “Days of Light.”
Sophie Lewis considers Keiran Goddard’s “I See Buildings Fall Like Lightning.”
Doyle D. Calhoun visits “Black Paris: Artistic Circulations and Anti-Colonial Struggles, 1950–2000” at the Centre Pompidou.
L. Benjamin Rolsky explores Quinn Slobodian’s “Hayek’s Bastards: Race, Gold, IQ, and the Capitalism of the Far Right.”
Guobin Yang dives into two new books on Mao-era China.
Andrew Koenig considers Elisha Cohn’s “Milieu: A Creaturely Theory of the Contemporary Novel.”
Joel Seligman discusses Stephen H. Legomsky’s radical call for restructuring the American republic.