Universities have disinvested from their presses just as much as their humanities departments and libraries. Will working together stop it?
“Many people who call themselves very patriotic, even nationalist, leave [Ukraine], while the people who are actually protecting it are the common people.”
In contemporary fiction, “literary evil” has been replaced by “neurotics, malingerers, failed imposters”—but what are the consequences of this indifference to evil and the assumed moral neutrality?
Our scorching planetary age results from the conjoined forces of colonial extractivism, fossil capitalism, and postcolonial developmentalism.
TV can’t reboot its way out of its past errors, any more than an individual can fix their past trauma by reliving it, over and over again.
In the intro to season 6 of Novel Dialogue, Kate Marshall gets weird: “I was looking at writers who were considering themselves part of a new weird, and I wanted to ask what the old weird was, and so I started looking.”
The show’s white, middle-age, upper-class liberals clumsily realizing their privilege are an accurate mirror of some of its viewers.
The turn toward an aesthetic of Black excellence on TV reveals a mode of self-fashioning that celebrates neoliberal markers of merit and prestige.
“Picard” is perhaps the least utopian of any “Star Trek” media. But’s that because its political pragmatism shows how to build a better reality.
“Star Trek: Picard,” “And Just Like That…,” “Bel-Air,” “Reboot”: even within our age of the reboot, old stories offer new insights.
“Why do we want our characters to be innocent, as if we are innocent ourselves?”
“I’m looking for [companies] where, you know, at the end of it, there’s some big payoff… You know, would that excite me?”
Prestige TV, which has a presumptively liberal audience, churns out a steady diet of illiberal fare. Shows like “Succession” force the viewer to ask why.
“To recognize the existence of injuries requires the recognition of others and their dignity.”
A behind-the-scenes look at what Public Books editors and staff have been reading this month.
American overseas imperialism functions most powerfully through its infrastructures—debt, education, bureaucracy, mobility—filtered through DHS.
In her new book, Belén Fernández is driven by an urge to expose empire’s death-making machine, even if it means exposing her own absurd participation in it.
Women invented cyberspace. Yet today’s internet rewards misogyny with fame, wealth, and power. Could it be otherwise?
Whether destroying the Mona Lisa or whole museums, why does contemporary film and TV want us to watch the art world burn?
“What would a successful war novel look like? This question concealed a deeper question I had: What would a truthful Kashmir novel look like?”