The new, harsh landscape has an immediate effect on the narrator. Reno, to him, is a place with no peace where he exists in a state of permanent jet lag.
Raw from the loss of his father, Chee says he got into Tarot because he “never wanted to be surprised by misfortune again.” In Tarot cards he found a tool that could enable him to take power over a life that had rendered him utterly powerless.
In Moshfegh’s no-bullshit approach, female friendship is scrutinized not to find genuine affection but to recognize how different personalities can embolden one’s ability to give into their emotional addictions.
Stephen Cone's film is about a queer teenage girl who, for one summer, discovers herself—what she desires, what she needs, and how she could fit in this world. It’s also, and just as importantly, a movie about words—writing and reading them.
How can and how does the poet contribute to the political, historical, and economic tradition of their society?
The veneer that is language is a major recurring trope in D. F. Brown’s newest collection. What is real and what is imagined through the filter of language? How might that affect the way we process an event?
An old poem by Yehuda Amichai, published in the collection Love Poems, seems more pertinent than ever to me, reading it as the elegy of a parent to their lost child.
Autobiography is straightforward in a way that autofiction is not: in this case, the prefix “auto,” or self, pairs easily with the suffix “biography,” or life story. An autobiography tells the self’s life story. But what does it mean to tell a fiction of the self?
Anne Carson, Maggie Nelson, and Marie NDiaye destabilize categories like genre and color as a way of moving forward with exploring the disturbances found within personhood.
Works by Richard Powers and Paul Harding use innovative structures to communicate the messages at their heart.