Coding the Dead: An Interview with Tamara Kneese
In Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond, technology scholar Tamara Kneese, director of Data & Society’s Algorithmic Impact Methods Lab and former green software researcher at Intel, explores the precarity of our data and digital selves.
Brat2Brat: On Gabriel Smith’s “Brat”
Style is sexy, but without its earthly trappings—the meaty, earthy details that give texture and life to a novel—it floats away as soon as the book is shut.
Who’s Cooking Beautifully: Formalism and Younger Poets
Armen Davoudian’s first full-length book, The Palace of Forty Pillars, shows for the first time in far too long what meters and rhymes and inherited forms, used deftly and clearly to speak of real lives, can do.
Knots, Ties, and Lines: “The Downward Spiral” at Thirty
The Downward Spiral, a record explicitly concerned with the decay that issues from indulgence, was recorded in the house that killed the 1960s, in the city that projects image over substance, where glamor circumscribes and hides destitution on a daily basis, in the state that makes consummate the double nature of the frontier as both the height of American exceptionalism and the embodiment of its most brutal expansionist tendencies
A Paris, of an Appalachia (or How to Go to Hell)
When Pittsburgh refuses to see the world, the city becomes unbearably precious and self-congratulating; and when Pittsburgh refuses to see itself, it takes as truth each insult it has ever received.
Shakespeare Was Gay: On Allen Bratton’s “Henry Henry”
If you are deeply offended by Bratton’s decision to adapt Shakespeare’s historical masterworks into a novel about incest, addiction, and fucking, consider what he was up against.
The Limits of Artificially Intelligent Poetry: On Lillian-Yvonne Bertram’s “A Black Story May Contain Sensitive Content”
To do so would call into question the political viability of Bertram’s poetic practice, which is stuck at the level of the model, taking it as a given and merely tweaking the parameters.
The Size of Life: On Dino Buzzati’s “The Singularity”
Buzzati makes a case for the necessary limitations of the “wretched flesh” in which we experience life, experience that cannot be reduced to the digital binary—singular experience.
from “In the Suavity of the Rock”
I hugged constantly for five years. It made me a better angrier man.
Perpetual Obscurity: On Juan Rulfo’s “Pedro Páramo”
From this angle, it’s almost as if the narrative itself—an ethereal ghost story and a cautionary tale about land grabs—is inconsequential to the book’s real currency: its paradoxically prominent underappreciation.
Spring In Review: 18 False Types
I thought it would be a fun exercise, as a means of assessing this activity over these last few months, to assign Pokemon types to each piece we published.
Parables and the Picaresque: On Djuna Barnes’s “Ryder”
The Ryders are an antithesis of an aristocratic dynasty, closer to modern-day rednecks than the ancestral tradition Barnes pays homage to in her Elizabethan prose.
from “NEARLY EARLY ARTLY NEVER”
the invisible signals (yes) of
a net, of a rain, of a cloud—
Feelings Over Facts: Conspiracy Theories and the Internet Novel
But they also promise a conditional escape: if you attain the right knowledge and listen to the right people, you might be able to save yourself and those you love.
Eating Time: On Marosia Castaldi’s “The Hunger of Women”
Rosa has entered a different understanding of time and its allotments, one removed from the linear progression for heterosexual women as dictated by girlhood, marriage, and childbirth.
from “A Mouth Holds Many Things”
“These works sometimes manifest in multiple forms that cannot be contained by the print page alone.” -Dao Strom and Jyothi Natarajan, Co-Editors
Make It News: On Chris Marker’s “Eternal Current Events”
Marker’s lesson, in part, is that the news is what you make it, but you cannot make it just as you please.
“Paris! Appalachia!” (or How to Live Where You Are)
The beauty Thomas and Spradlin identify in this city is not the architectural grandeur funded by steel robber barons, or city-sanctioned ‘aerosol art,’ but the interplay of the wall and the graffiti; the law and rejection of the law; the memorial and the refusal to pay homage to a memory.