I Decided To Hold Onto It: On Ayşegül Savaş’s “The Anthropologists”
Chekhov’s gun isn’t always firing; sometimes it’s just the small, insignificant moments that happen in the meantime, described with clarity and grace, pinpricks of tenderness, the levity of a vignette that passes, that means nothing, that means everything, that exists.
from “See Friendship”
The student loan bubble? Tensions with China? The hollowing of rural America? The collapse of the reasonable center? Medical debt, race relations? My God, the climate crisis, and on top of all that the looming threat of another four years, which, all liberal hysteria aside, our enemies in the Kremlin were probably planning right this moment? It added up, and it added up, and it added up until one actually could not believe how much it was adding up.
Doubled Visions: On Heather Christle’s “In the Rhododendrons”
The result is a remarkable work of synthesis, overlay, and double exposure, in which past and present, child and adult, literary figure and family member illuminate each other.
from “I want to start by saying”
I want to start by saying that in the fifties and sixties Jews and Blacks moved into Shaker Heights.
I want to start by saying that the press said they were welcomed.
I want to start by saying they were not welcomed.
Michel Houellebecq Explains Himself: on Michel Houellebecq’s “Annihilation”
None of the author’s controversies have been as bizarre as the one he finds himself in presently, which, perhaps unsurprisingly, circles back to his preoccupation with sex.
Language as Rebellion: Yuri Herrera in Conversation with Daisuke Shen
Because even if you're speaking about ghosts, you're always speaking about yourself—about your neighbors and about your own history.
A Little Too Much Sun
You can wake up to someone day after day and still they’ll appear disfigured somehow, pummeled by the early light.
The Night Side of Nature: On Robert Eggers’s “Nosferatu”
Compared to Stoker’s belief in the positive influence of the Enlightenment and traditional Christian faith, Eggers’s narrative is a darker meditation on modernity’s spiritual blindness.
Back to Normal: Hollinghurst's Late Style
If a shared appreciation of culture is a means of expressing these desires covertly, Our Evenings suggests that it can also prove treacherous.
from “Gloom 11: Epilogue”
Smoke. Morphine induced reflective flashback. Restricted area. Observe > feel > transcribe > reflect > repeat. Hospital bed. Breaking news. Large blast. Conspiracies. Message boards. Static. Dread. Cybrids. Phantom limb.
Decisions, Decisions: On Anastasia Berg and Rachel Wiseman’s “What Are Children For?”
I see nothing controversial in the authors’ core argument: that it’s not anti-feminist to wonder whether to have children, and that women who are ambivalent about the question should address it in a timely, direct, and collaborative manner.
Inhuman Intelligence: on “The Automatic Fetish” and “The MANIAC”
Labatut and Best both fear this outcome. But Labatut does not realize we already live in a world governed by an alien intelligence.
from “The Keeper”
There are always reasons one begins to write an endless letter to someone who neither exists, nor ever wanted to. When I started, I was someone, too. Now, to keep going, I sit in the workshop, erasing.
The Secret City: Aaron Lange on the 1970s Cleveland Punk Scene
Lange presents a beautiful and moving depiction of Laughner as a tragic poet amidst the end of the industrial empire of which Cleveland and Northeast Ohio were a microcosm.
Pounds of Flesh: On Munir Hachemi’s “Living Things”
Resisting conformity in any sense, this flawed, disorienting narration is what chips away at the smooth surface of a perfect system, eroding apathy and repression with a persistent and scattered haunting. An endless proliferation of alternative testimonies, then—this is how defiance is exercised.
from “A Park at the Edge of the Country”
like the scholarly work
I’d neglected
before the accident
with its long digressions
on the epistemology
of hero worship.
The Ends of Innocence: On Lucy Ives's “An Image of My Name Enters America”
These were the years of Y2K rapture-tripping, before 9/11 shattered the world—the forecasted apocalypse that never came to pass, as opposed to the actual one we didn’t see coming.
A Snail’s Pace Suits Me Fine: On Mario Levrero’s “The Thinking-About-Gladys Machine”
Levrero’s characters often uncover something long neglected, or turn inward in some other way. Consequently, the protagonists in these stories are seemingly at odds with their reality.
The Big World Versus the Little World
They light their soft mustaches with the beating glow of their phones, jingling the hits and misses of a shooting game. They wave them in the air, “Over there,” they yell and disappear. Bugs are erect in the tall grass. I run toward the children, and they toward me, or away, and I run toward them again, barely missing. Their faces gleam green, pink, then red, and purple.