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Premium Content: On Anna Kornbluh’s “Immediacy”
Christina Fogarasi reviews Anna Kornbluh’s “Immediacy: Or, the Style of Too Late Capitalism.”
Christina FogarasiJan 31, 2024
- Cultural Studies
- Nonfiction
Haiti Reimagined: On Marlene L. Daut’s “Awakening the Ashes” and Jake Johnston’s “Aid State”
Laurent Dubois reviews two new books on Haiti’s past and present: Marlene L. Daut’s “Awakening the Ashes: An Intellectual History” and Jake Johnston’s “Aid State: Elite Panic, Disaster Capitalism, and the Battle to Control Haiti.”
Laurent DuboisJan 30, 2024
- History
- Nonfiction
Art, Freedom, and a Menagerie: On Ai Weiwei’s “Zodiac”
Melissa Chan reviews “Zodiac” by Ai Weiwei.
Melissa ChanJan 30, 2024
Rethinking the Work Ethic: On Elizabeth Anderson’s “Hijacked”
Helen Hester reviews Elizabeth Anderson’s “Hijacked: How Neoliberalism Turned the Work Ethic Against Workers and How Workers Can Take It Back.”
Helen HesterJan 29, 2024
- Economics and Finance
- Philosophy & Religion
Inspiration from the Luddites: On Brian Merchant’s “Blood in the Machine”
Three educators find inspiration for fighting automation in the classroom in Brian Merchant’s “Blood in the Machine: The Origins of the Rebellion Against Big Tech.”
Antero Garcia, Charles Logan, T. Philip NicholsJan 28, 2024
Finding Pleasure in Survival: On C Pam Zhang’s “Land of Milk and Honey”
Michaela Cavanagh reviews C Pam Zhang’s “Land of Milk and Honey.”
Michaela CavanaghJan 28, 2024
- Fiction
The Real Unrealists: On Andrey Platonov’s “Chevengur”
Josh Billings reviews the new translation of Russian author Andrey Platonov’s classic novel “Chevengur.”
Josh BillingsJan 25, 2024
- Around the World
- Fiction
W. G. Sebald’s Deepfakes: On “Shadows of Reality”
Adam Sobsey reviews “Shadows of Reality: A Catalogue of W.G. Sebald’s Photographic Materials,” a collection from the works of novelist and essayist W. G. Sebald.
Adam SobseyJan 24, 2024
The Nameless and Forgotten Ones: On Wim Wenders’s “Anselm”
Yael Friedman speaks with Wim Wenders and provides a review of his work with sculptor Anselm Kiefer in the wake of Wenders’s new documentary, “Anselm.”
Yael FriedmanJan 24, 2024
Fear of the Feminine: On Tlotlo Tsamaase’s “Womb City”
Jenna N. Hanchey reviews Tlotlo Tsamaase’s “Womb City.”
Jenna N. HancheyJan 23, 2024
A Farther Shore: On Three New Poetry Collections
Paul Vangelisti considers Susan Thackrey’s “Farther,” Joel Chace’s “Maths,” and Claire DeVoogd’s “Via.”
Paul VangelistiJan 22, 2024
- Poetry
The Path of Cheerful Despair: On Marguerite Duras’s “My Cinema”
Isabella Trimboli reviews a new translation of Marguerite Duras’s work on cinema.
Isabella TrimboliJan 21, 2024
- Film
- Gender & Sexuality
Drowning in Mediocre Data: On Kyle Chayka’s “Filterworld”
T. M. Brown reviews Kyle Chayka’s “Filterworld: How Algorithms Flattened Culture.”
T. M. BrownJan 19, 2024
- Nonfiction
- Science & Technology
Sadness and Strange Beauty: On Manjula Martin’s “The Last Fire Season”
Ellie Eberlee reviews Manjula Martin’s “The Last Fire Season: A Personal and Pyronatural History.”
Ellie EberleeJan 19, 2024
A Million Years’ Struggle: On Carlos Cortéz Koyokuikatl's “Coyote’s Song”
Elizabeth Henson reviews Carlos Cortéz Koyokuikatl's “Coyote’s Song: Collected Poems & Selected Art.”
Elizabeth HensonJan 18, 2024
- Art & Architecture
- Poetry
Who Gets to Name What’s Evil? On Blake Butler’s “Molly”
Mike Jeffrey reviews Blake Butler’s “Molly.”
Mike JeffreyJan 17, 2024
- Memoir & Essay
- Nonfiction