Lit Hub Daily: August 19, 2021

• “Caught in its fevers, American feminists did not question loudly enough the wisdom of exporting feminism through bombs and drones.” Rafia Zakaria on America’s lies of liberation. | Lit Hub Politics

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• For The Longest Year: 2020+, Alexey Yurenev documents the COVID confinement of Brighton Beach’s Red Army veterans. | Lit Hub Photography

• Unpacking the surprising data about religion and the brain. | Lit Hub Science

• Jonathan Franklin recounts a tiger-seeking trip through the “Wild West” of the USSR (with a young Tom Brokaw in tow). | Lit Hub Travel

• “At some point one must admit that the two-state dream has faded into a two-state illusion.” Omri Boehm on the necessary re-imaginings for Israel’s transformation. | Lit Hub

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• Species on the edge: William deBuys considers the fate of the Himalayan snow leopard in an era of climate change. | Lit Hub Nature

• Hot commodity: Advanced reader copies, otherwise known as uncorrected proofs, are selling for thousands of dollars on eBay. | Wall Street Journal

• How (and why) Yoon Choi wrote her new short story collection. | Kirkus

• “This is a moment where we’re all thinking about workers who are hidden and who pay the price.” Eyal Press on making the “dirty work” visible. | NPR

• Jarvis R. Givens discusses the term “fugitive pedagogy”  and “the subversive intellectual heritage passed on by the formerly enslaved.” | LARB

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• “A core difference between writing and translation is that the former requires me to vet every layer of what I produce; the latter, not so much.” Lily Meyer considers the pleasures and responsibilities of translation. | Poets and Writers

• How do words lead to justice? Tracking the movement of ideas from the margins to the mainstream. | Public Books

• Nichole Perkins on pop culture as a way of our “recognizing our humanity” and the creative choices behind her memoir. | Entertainment Weekly

Also on Lit Hub: Patrick Nathan on the fault lines of memory and propaganda • A poem by DeMisty D. Bellinger • Read a story from Brian Evenson’s latest collection, The Glassy, Burning Floor of Hell