On Erik Davis’s High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies
On preserving improvisational force and the fluid collaboration between two musicians.
Two artists render the historical legacies of racism.
The life of mutant-pop songwriter Peter Ivers was really something.
“I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.”
Portraits and hauntings are inseparable bedfellows in film history.
On the 1973 feminist publication that gathered collective and self-help resources into one big, beautiful book.
All loves—and all selves—are fictions. Though that doesn’t mean they aren’t true.
An interrogation of the ways in which the system of representation surrounding breast cancer can isolate, infantilize, and even erase the women it professes to help.
A variety of texts by a writer who fancied himself a power broker.
A final, reflexive work from the godmother of the French New Wave.
On Sylvia Townsend Warner’s The Corner That Held Them, a witty and subversive novel about life in a fourteenth century convent.
A portrait of Langston Hughes and Black queer Harlem.
“You could dance to it, mourn with it, revel in it, or march alongside it.”
On her new collection of nonfiction, Me & Other Writings.
Portraits that capture the everyday.
A medium for conversations about deep time, how war affects our consciousness, literature and, of course, nothing.
A playful take on Latin American expeditions that reveals the contradictory problems therein.
Jim Henson’s Netflix prequel is a masterpiece of puppetry filled with allusions to our contemporary moment.