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The Unreality of Coming of Age

The Unreality of Coming of Age

Waking Dreams in Conversations with Friends and The Answers

By Clare Sestanovich | August 21, 2017

How Far Can Fascist Satire Go?

How Far Can Fascist Satire Go?

On the Troubling, Compelling Work of Curzio Malaparte

By Tobias Carroll | August 21, 2017

The Reluctant Spiritual Autobiographer   

The Reluctant Spiritual Autobiographer   

Adrian Shirk Didn't Know What Kind of Book She Was Writing Until She Was Half-Way Through

By Adrian Shirk | August 21, 2017

I Made a Mistake in My Book and the Internet Went Nuts

I Made a Mistake in My Book and the Internet Went Nuts

Rebecca Schuman on Trying to Be an Expert and a Woman at the Same Time

By Rebecca Schuman | August 21, 2017

Are We Different Writers When We Move From Longhand to a Screen?

Are We Different Writers When We Move From Longhand to a Screen?

A Brief History of Panic in the Face of New Writing Technology

By James Draney | August 18, 2017

Pursuing the Artfully Naked

Pursuing the Artfully Naked "I": The Myth-Making of Kathy Acker

Seeking the Iconic Status of Great Writer as Countercultural Hero

By Chris Kraus | August 18, 2017

Best Reviewed
Books of the Week

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  • Eradication: A Fable
  • The Boundless Deep: Young Tennyson, Science and the Crisis of Belief
  • The Last Kings of Hollywood: Coppola, Lucas, Spielberg—And the Battle for the Soul of American Cinema
  • End of Days: Ruby Ridge, the Apocalypse, and the Unmaking of America

Getting It Right: How to Rebuild Scenes from the Past

By Benjamin Rachlin | August 18, 2017

Air Travel: From Majesty to Drudgery in 100 Years

By Ellie Robins | August 18, 2017

Jill Bialosky: The Time I Moved to New York City to Be a Poet

By Jill Bialosky | August 17, 2017

Scott McClanahan:

Scott McClanahan: "Most Fiction Feels Like a Bunch of Dumb Stories"

The Author of The Sarah Book in Conversation with April Ayers Lawson

By April Ayers Lawson | August 17, 2017

Hannah Tinti on Learning to Shoot a Gun for Literature

Hannah Tinti on Learning to Shoot a Gun for Literature

And the Artist's Job to Create Empathy

By Emily Temple | August 17, 2017

What Poetry Can Teach Us About Power

What Poetry Can Teach Us About Power

Political Poems Use Language in a Way Distinct from Rhetoric

By Matthew Zapruder | August 16, 2017

Fact, Fiction, and When a Novel Crosses the Line

Fact, Fiction, and When a Novel Crosses the Line

Joanna Scott on the Illusive Boundaries of Truth and Literature

By Joanna Scott | August 15, 2017

What Does it Mean When We Call a Key a

What Does it Mean When We Call a Key a "Slave"?

On the Power and Responsibility of Metaphor

By Peggy Shinner | August 14, 2017

How to Write This Year’s “Definitive Novel” of the East Village in the 1980s

How to Write This Year’s “Definitive Novel” of the East Village in the 1980s

Jarett Kobek Gives Away His Professional Secrets

By Jarett Kobek | August 14, 2017

Katie Kitamura on Subverting Tropes in <em>A Separation</em>

Katie Kitamura on Subverting Tropes in A Separation

Because All Books Have Dead Women and Tidy Endings

By Emily Temple | August 14, 2017

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    • "a succession of nine quietly horrifying stories from a dystopian pastorally radiant England The novella…"
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