The lasting impression has not so much to do with what was passed down but with what was obscured.

There are differences, complications, but at their core, these viruses are simply showing us, over and over, what needs to change.

Official remedies for the present polycrisis are often couched in market principles. In excavating the troubled history of libertarian exit, though, we can at least better understand what we are up against.

Kawakami reiterates that women can lead a fulfilling life and make fulfilling choices absent of a romantic partner.

Contrary to no one’s expectations, Emmanuel Carrère has written another book about himself. If you’re just being introduced, this is his fourth or fifth.

The boundaries between what’s true, what’s imagined, and what’s cocreated are as disorienting and disquieting as a buffalo in the living room.

Descartes has long been typecast as the writer of radical separation of mind and body, of rationality above all else—even his contemporaries declared him the murderer of poetry.

Any definition claims us, and if we define ourselves in turn we accept the claim, project it. A punk does not say, I am a punk, but exists as one.

Donald Trump, who won Ohio handily in both 2016 and 2020, tapped into a primal element of the American spirit.

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.