To Write as They Played
Sarah Moorhouse reviews Susan Tomes’s new collective biography, “Women and the Piano: A History in 50 Lives.”
"As far as I'm concerned, being any gender is a drag." — Patti Smith
Sarah Moorhouse reviews Susan Tomes’s new collective biography, “Women and the Piano: A History in 50 Lives.”
Sarah MoorhouseJul 24, 2024
Lori Marso reviews Catherine Breillat’s film “Last Summer” in the context of the director’s body of work, as well as alongside the recent Miranda July novel, “All Fours.”
Lori MarsoJul 19, 2024
Adam Nayman considers Yorgos Lanthimos’s latest film “Kinds of Kindness” amid the provocateur director’s broader body of work.
Adam NaymanJul 14, 2024
Cristóbal Riego explores the hybrid nonfiction writings of Chilean author Pedro Lemebel.
Cristóbal RiegoJul 7, 2024
Kevin Gonzalez looks back at Kenneth Anger’s “Scorpio Rising” as a biker and a present-day political subject.
Kevin GonzalezJun 14, 2024
David A. Gerstner considers the sterilized presentation of Rainer Werner Fassbinder’s “Querelle” in its new rerelease.
David A. GerstnerJun 12, 2024
Marion Thain analyzes Yorgos Lanthimos’s film “Poor Things” in the context of Julie Wosk’s new book “Artificial Women: Sex Dolls, Robot Caregivers, and More Facsimile Females.”
Marion ThainJun 10, 2024
Juno Richards reviews Jules Gill-Peterson’s “A Short History of Trans Misogyny.”
Juno RichardsJun 10, 2024
Claudia Casper reviews Sarah Blaffer Hrdy’s “Father Time: A Natural History of Men and Babies.”
Claudia CasperJun 4, 2024
Gabriel X. Hendrix reviews Gil Cuadros’s “My Body is Paper.”
Gabriel X. HendrixJun 3, 2024
Isabel Bartholomew reviews Grace Lavery’s “Closures: Heterosexuality and the American Sitcom.”
Isabel BartholomewMay 25, 2024
Diana Arterian reviews Alison C. Rollins’s “Black Bell.”
Diana ArterianMay 19, 2024