When I first started watching BBC's serial killer drama The Fall, I was excited to discover that the episode titles were all famous lines from Paradise Lost. But the title is also a reference to another, very different classic poem: “The Hollow Men” by T.S. Eliot.
Emma Cline’s debut novel, The Girls, is an unabashedly feminist novel that freely acknowledges the presence of patriarchal forces in our society.
ARRIVAL has been hailed for carving a space for the “literary science fiction movie,” and rightly so. Director Denis Villeneuve achieved the nearly impossible feat of making a compelling, relatively crowd-pleasing movie about linguistics, complete with a new alien language composed of 100 logograms, while also weaving in themes of
HBO’s Westworld is rife with literary references that, like the androids populating the titular park, have started to take on a life of their own.
While Showtime’s The Affair has been praised for its incisive exploration of the unreliability of memory, particularly in romantic relationships, some of its most insightful commentary is on the contemporary literary community.
A middle-aged white man steps onto the political stage in a fancy suit. He makes speeches that are simple and direct, low on facts but high on rousing rhetoric. He touts an inanimate object as the savior of the economy and a metaphor for the American way of life.
Emily Dickinson is known for her rumination on the anxiety surrounding death, and particularly the pain that accompanies mourning. But her poetry demonstrates a comparable mistrust of eternal life, rendering the idea of a paradisiacal afterlife as emotionally fraught as the idea of oblivion.
In social justice activism, offensive rhetoric is considered a form of toxic pollution. Language shapes our culture, society, and schema for thinking about different groups, and so can never be considered harmless.
Wuthering Heights by Emily Brontë is often considered one of the great Victorian romances, mentioned in the same breath as classics like Pride and Prejudice and her sister Charlotte’s most famous work, Jane Eyre. But where Jane is a love story through and through, from the early meet-cute to
In Seamus Heaney’s acclaimed translation of Beowulf, the narrator describes Grendel and his mother’s fearsome raids, declaring that no one is safe “where these Reavers from Hell roam on their errands.” This was by far the most high-profile usage of the word “reaver,” an otherwise obscure and obsolete term