May 28, 2015
by Sonya Chung
We know that we became absorbed, that we experienced great pleasure in watching, and that we couldn’t wait for each new season to begin. We know, or feel at least, that we have participated in something significant, a cultural moment. But what I want to know now, or try to know, is this: Is it art?
May 27, 2015
by Matt Seidel
“Got any good books to recommend?” For me, the equivalent of a politician’s “gotcha” question.
May 26, 2015
by Nick Moran
Some of the most exciting works in the canon of “Floridapocalyptic” writing are not necessarily warnings about natural disasters and tropical storms. The four works below are more imaginative takes on the state’s doom, each offering a glimpse into yet another way that night could fall on the Sunshine State.
May 21, 2015
Writing about sheep is a thread that twists through 20th-century explorations of the British landscape, and one that I have become eager to unravel.
May 20, 2015
Sneed offers, with quiet confidence, her characters’ increasing complexities. People, like the best art, deserve more than one interpretation. There is little black and white contrast in Sneed’s work, and she lingers in every gradation of shade in between, as if gray were a full palette of color.
May 18, 2015
The human mind obviously enjoys lists, and the well-deployed tricolonic title can constitute a powerfully compressed narrative that raises questions only answerable by consuming the cultural object in question.
May 14, 2015
Sofia could live her entire life in a library and never be tired of books, of the smell of ink on paper, the weight of a book in her hand, or the things you learn in their pages.
May 14, 2015
Literature and breakfast are both slow arts. Early morning arts that unfold while the world is still groggy and optimistic.
May 8, 2015
by Lois Leveen
Killing one’s self is a hell of an occupational hazard. But I’ve come to believe that writing can also be a way to resist suicide.
May 5, 2015
A preface is an ars poetica for a book, for a literary life. A preface often feels like the writer sitting across the table from the reader, and saying, listen, now I am going to tell you the truth.