Why did former model/actress and ex-pro bullfighter Bette Ford name all of her pet poodles the F-word? And btw, why did she take a swing at Norman Mailer? She and Fortunato Salazar met up to discuss.
“We all know it’s a mistake / to raise the dead, / but who has that ever stopped?” Two new poems by Sarah Bridgins, selected by spring poetry editor Lucy Tiven.
Parquet Courts don’t disappoint on the hype built from their debut album, as their sophomore effort Human Performance extends their at once familiar and fresh Warholian aesthetic to find their best sounds yet. Reynard Seifert reviews.
“And though I have found some truly beautiful things, none of it is that one thing that I’m searching for.” New writing by Simona Blat.
Cheer Up, Femme Fatale combines three major works by one of Korea’s poetic superstars. Megan Milks reviews.
We go close up inside the work and life of filmmaker Damon Packard, an offbeat character and underground fixture in Los Angeles whose films feature pastiches of classic Hollywood films, wild and paranoid plots, and a bizarre sense of humor.
“It’s redundant to fear / Technology in a poem, as one / Or the other is like the end.” New poetry by Daniel Poppick, selected by spring poetry editor Lucy Tiven.
Radiohead’s “True Love Waits” is a twenty year-old ballad that just got dressed up in radically new clothes for its first studio version, which Weston Cutter argues is a big deal.
“Electricity is not the cause of suffering.” An excerpt from Martin Rock’s forthcoming collection Residuum, newly out from Cleveland State University Press.
Gregg Murray takes a look at how end zone celebrations in the NFL bizarrely transgress the violent spectacle that is the modern NFL, though the lens of one of the phenomenon’s greatest provocateurs, Chad Ochocinco.