Essays
Hannah Smart writes about her attempt to diagram a 900-word sentence in David Foster Wallace’s “Mister Squishy,” and what the efforts taught her about human inertia and meaningless language.
Jodie Hollander describes the imprisonment of fame, in a poem from LARB Quarterly no. 47, ‘Security.’
Tess Taylor captures fragments of dream text, blank invitations, and stored receipts, in a poem from LARB Quarterly no. 47, ‘Security.’
Anna Journey writes on the ‘site of infernal nerve spark and spasm,’ in a poem from LARB Quarterly no. 47, ‘Security.’
Zachary Gillan reflects on Jeffrey Ford’s ‘Well-Built City Trilogy’ in the era of resurgent fascism.
Lori Marso looks at “Priscilla” within Sofia Coppola’s white girl oeuvre.
Dalia Taha writes on Palestine and the messages etched into the land, in two poems from LARB Quarterly no. 47, ‘Security,’ translated by Sara Elkamel.
Harley Wong on fashion designer Dilara Findikoglu’s ‘Cage of Innocence’ presentation in light of Edith Wharton’s fiction.
Rhoni Blankenhorn confronts her changing self, in a poem from LARB Quarterly no. 47, ‘Security.’
Jake Flanagin examines how reality TV juggernaut Bravo and its ‘Real Housewives’ spin criminality into character development—and ratings gold.
Janna Jones writes about the history and resonances of ‘Love Tapes,’ Wendy Clarke’s 1980s video project.
Jeff Stimmel considers the art and tumultuous life of Chuck Connelly.
In a story from LARB Quarterly no. 47: “Security,” Hannah Liberman’s narrator—who has a “lemon-sized” tumor in her throat—faces a possible cancer diagnosis that forces her to confront her memories, relationships, and losses.
Marina Magloire writes on the Clifton House, the Pamoja workshop, revolution, and refuge, in an essay from LARB Quarterly no. 47: “Security.”
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