Privacy Given Freely: A Review of Shannon Burns’s Oosh Boosh
Carolyn DeCarlo04.07.16
What is the Oosh Boosh? What does it want? Carolyn DeCarlo reviews Shannon Burns’s debut collection, out now from 421 Atlanta.
Nearly
Kyle Beachy04.06.16
“If anything, his body affects a kind of death embrace.” New fiction from Kyle Beachy.
Ideal Home Noise (6): Rodereda, Henson, Haneke
Jeff Jackson04.05.16
Jeff Jackson brings us his latest round up of wild media for your mind. This month, he includes the absurd writings of Merce Rodereda, Bill Henson’s dreamy photographs, and a look at Criterion’s rerelease of Haneke’s Code Unknown.
Learning To Drive In the Era of the D.C. Sniper
John Farley04.04.16
John Farley looks back on being teenage in the Baltimore suburbs during the DC shooting spree by John Allan Muhammad and Lee Boyd Malvo.
Where Wonder Lives Online: Why Instagram is the New Cabinet of Curiosities
Amber Sparks03.31.16
Amber Sparks argues for Instagram as a continuous archive of the previously unseen and offers a curated range of new sources for your feed.
Semiotics
Rachel Allen03.30.16
“The morning I woke up memoryless with a Saran-wrapped wrist, I laughed and kept on going. A star!” An essay in fragments on body modification, memory, self-attention, and event.
The Sensual & The Intellectual: The Art of Anthony Sonnenberg
Sarah Rose Etter03.29.16
In this interview, the artist opens up about his influences, growing up in a small Texas town, and the lure of Greek myth and porcelain.
Why The Cars Matter More Than The Rock & Roll Hall of Fame
David Schuman03.28.16
David Schuman looks back on listening to The Cars—who were yet again snubbed by the Rock and Roll Hall of Fame—and considers what it seemed they promised and understood amidst the rise of punk.
3 pieces that are at least 85% accurate
Kristen Gallagher03.25.16
“The water company said most home sewer systems are ‘open,’ meaning that at some point between every house and the main sewer line, or in the sewer line itself, a pipe has separated or broken, so anything can get in.” New work by Kristen Gallagher, selected by late winter poetry editor Ed Steck.
