Review
In his most recently translated novel, Sergio Chejfec continues to craft a style and world all his own.
In his most recently translated novel, Sergio Chejfec continues to craft a style and world all his own.
Elizabeth Robinson crosses genre to reveal what it means to be haunted.
Lara Mimosa Montes looks back to another era and reappraises her own with Koestenbaum’s My 1980s and Other Essays.
Titillating and nausea-producing? Certainly. Transgressive? Maybe. Forrest Muelrath reviews Paul McCarthy: WS at the Park Avenue Armory.
A reader’s correspondence with Paul Auster and J. M. Coetzee’s Here and Now: Letters (2008–2011).
David Groff and Angelo Nikolopoulos’s divergent work centers on the poetics and politics of the gay body.
Katie Peyton on the satisfying artifacts of truth in Kristopher Jansma’s The Unchangeable Spots of Leopards
Eric Dean Wilson on the rushing river of language in Dara Wier’s You Good Thing.
Wolf’s film Teenage truncates the nuance and diversity of the source material, but offers flashes of individual introspection on a few historical figures.
Nick Thurston on how Kim Rosenfield’s Lividity and Steven Zultanski’s Agony both convert the long form poem into an act of hyper-objectification, and how both do so to brutally contemporary effect.
It is surprising that Sam Savage would write a book about a character who has never had a profession—before writing, he worked as a bicycle mechanic, carpenter, crab fisherman, and letterpress printer.
Architect Carlos Brillembourg’s poetic meditation on Keith Sonnier’s sculptures at Mary Boone Gallery
Andrew Savino on seeming versus being in Scott Hutchins’s novel, A Working Theory of Love.*
Sarah Gerard on life’s closing and Gerald Murnane’s fifth novel, Inland.
Maxi Kim on Jarett Kobek’s third book, If You Won’t Read, Then Why Should I Write?, a sobering diagnosis of the collective state of the American mind.
John Reed keeps it real and critical with this year’s much-anticipated 2012 Whitney Biennial.
In her latest Shifting Connections, Kathleen MacQueen reflects on her favorite shows of the Spring of 2012.
In this week’s Damaged Goods, Craig Hubert explores directors Eric Rohmer and Jean Eustache, two archetypal members of the French New Wave.
