Mort(e) extends the lineage of political allegory with charming, apocalyptic flair. Sabra Embury reviews.
Amber Sparks dives into the memory, loss, and apocalypse in Laura van den Berg’s Find Me.
Kati Heng listens to French-Cuban duo Iyebi’s self-titled debut album and tries to wrestle with the ways we can and cannot handle musical heritage.
As We Know redefines the writer/editor relationship by blurring all boundaries between them. Gina Myers reviews.
The End of Days explores the strange terrain between life and death. Jace Brittain reviews.
Norman Feliks investigates the hauntingly Nietzschean aspects of Andrew Worthington’s debut novel, Walls.
Jake Valento looks closely at Paul Thomas Anderson’s Inherent Vice and finds a film that’s more than the sum of its shaggy-dog pot-smoked parts.
Mark Baumer goes deep line by line into the bloodbath of language that is Patricia Lockwood’s Motherland Fatherland Homelandsexuals.
Nicholas Grider takes a look at the emotional heft of Bjork’s latest.
Freely Frayed takes a look at how the work of Korean poets such as Don Mee Choi and Kim Hyesoon grapple with the US’s manipulation of their home country as a military toy. Joyelle McSweeney reviews.