Every day, a new uncovering. People, places, and ideas are revealed to no longer be what they’d seemed to be.

Defenses of liberal arts education seem a dime a dozen these days.

At the Earth Room exhibit—Walter De Maria’s interior earth sculpture made from 250 cubic yards of dirt and 3,600 square feet of floor space—no photos are allowed, admission is free, food and drink should be nowhere near the gallery.

In terms of words that slice two ways, “graphic” is distinct.

A sacrifice zone is a wasted place, or a place deemed worth wasting.

You remember a fragment of childhood horror. You’re on the day camp bus, and your seatmate decides to punch you, hard, in the thigh.

Early departures, surprise comebacks, protracted witherings, late holdings-on: all different ways of ending things.

Baharevich’s creation is mostly known, if at all, to anglophone audiences through its play-adaptation, which is quite a shame.

“It’s Fang’s struggle to give form to his own unsettledness that imbues his poems with their relentless pathos, sensuality, and elegance.”

This book, then, is a challenge to the status quo, and its lyrical diptychs prove the collaborative enterprise to be a success.

Sometimes the interesting stuff happens at the edges, where categories bump and scrape against each other.

Ma takes these mundane episodes and turns them into dreamscapes of subtly fractured logic and absurd literalism.

Because inequality threatens stability only in certain political systems, and because people can’t agree on morality, inequality by default becomes considered an economic rather than a political or moral problem.

As an Emergency Medicine resident working in NYC’s ERs, for me, fear is no longer the dominant emotion that COVID provokes.

The resilience needed to seek instead of believe, an author imbibing the world and the self openly, this is what impresses most in Hall’s debut.

The ambulatory novel—positioned as it is between the flaneurial and the loco-descriptive—is generally a solitary affair.

Of the five million people who walk through the doors of the American Museum of Natural History each year (pre-pandemic figure), few probably give much thought to Kansas.

“The essay is a transgression,” begins Suzanne Roberts’s collection of personal essays, Animal Bodies.