A selection of pages from Hands Up, Herbie!, a graphic biography of the artist and educator Herb Perr.
The memoirist on her relationship with motherhood, immigration, and psychogeography.
Artist and writer discuss their globe-spanning travels.
The writers on their latest collaboration, Brothers of the Gun: A Memoir of the Syrian War.
The author on pushing back against the overly simplistic narrative of addiction.
Autofiction that explores the borderland between memoir and vision quest.
Club 57: Film, Performance, and Art in the East Village, 1978–1983 at the Museum of Modern Art and The Mudd Club book.
A German play based on a French memoir reflects on the global Left’s abandonment of the working class—and finds additional significance in the Age of Trump.
Investigating the interface between humans, nature, and technology.
In 2017, I moved for several months to Ayvalik, a seaside town in southern Turkey. My father had spent many summers there in a two-story family house that overlooked the Aegean Sea. It was a place he loved. I couldn’t save my father. I decided to save his house instead. With the help of locals, we brought it back to the way it used to be.
Myriam Gurba’s Mean is the latest in a tear of recent autofiction (including Rachel Cusk’s Transit and Barbara Browning’s The Gift) that employ the genre to showcase the complications of modern women’s lives.
Writing personal and generational trauma.
A rediscovered novel and memoir depict a character we are lucky to have on the page. In life he would mortify us.
Disastrous screenings, Nam June Paik’s meeting with Bill Clinton, and time spent as a dog.
Chris Kraus and Douglas A. Martin conjure the iconoclastic author.
“There’s often a gap between what we’re trying to say and what we are able to say. Sometimes I’m successful and sometimes I fail. Sometimes it’s painful and sometimes I get into that space where it feels right. That’s the high.”
Rickie Vasquez is wondering if all you ever have to offer him are crumbs.
“The perceived aversion to a male-centered illness narrative had to do with antiquated ideas about who should and shouldn’t be vulnerable to a failing body, and what that vulnerability means.”
I sat at the bar of the Zwiebelfisch in Berlin together with David Bell, the renowned Kant scholar; it happened to be one of his regular haunts and it was the only spot where we could have an undisturbed meeting whenever he was in Berlin.