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A Wound Is Objective: A Conversation with Édouard Louis
Stephen Patrick Bell interviews Édouard Louis about his new book “Change.”
Memoir & Essay
"The older one grows, the more one likes indecency." — Virginia Woolf
Why Hitch Still Matters: On Christopher Hitchens’s “A Hitch in Time”
Marius Sosnowski reviews Christopher Hitchens’s posthumous collection “A Hitch in Time: Reflections Ready for Reconsideration.”
Life and Form: On Phillip Lopate’s “A Year and a Day”
Bill Thompson reviews Phillip Lopate’s “A Year and a Day: An Experiment in Essays.”
Questions of Travel: On Kurt Caswell’s “Iceland Summer”
James Perrin Warren reviews Kurt Caswell’s “Iceland Summer: Travels Along the Ring Road.”
Dreaming into Existence: Collaborative Art in Prison
Annie Buckley describes her experiences working with incarcerated artists via the Prison Arts Collective.
Subversion of Resolution: On Eileen Vorbach Collins’s “Love in the Archives”
Melissa M. Monroe reviews Eileen Vorbach Collins’s “Love in the Archives: A Patchwork of True Stories About Suicide Loss.”
Among the Rose Petals, Queer Possibility: On Sasha Velour’s “The Big Reveal”
Christian Lewis reviews Sasha Velour’s “The Big Reveal: An Illustrated Manifesto of Drag.”
Sands of an Hourglass: On Geoff Nicholson’s “Walking on Thin Air”
Tom Zoellner reviews Geoff Nicholson’s “Walking on Thin Air: A Life’s Journey in 99 Steps.”
The Bottom of the Funnel: On Blacks, Jews, Whiteness, Conspiracy, and Hip-Hop
Adam Mansbach writes about his experience growing up among antisemitism and hip-hop.
Leaving Me My Eyes: On Andrew Leland’s “The Country of the Blind”
Deanna K. Kreisel reviews Andrew Leland’s “The Country of the Blind: A Memoir at the End of Sight.”
The Last of the Menckenians: Struggling with an American Iconoclast
Michael Downs considers the troubled state of the institution that preserves the work of H. L. Mencken.
Sequence: Excerpt from “A Map of Future Ruins” by Lauren Markham
LARB presents an excerpt of Lauren Markham’s new book “A Map of Future Ruins: On Borders and Belonging.”
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