Tech titans gained power and wealth from the accumulation of data, but that doesn’t mean they are equipped to be long-term stewards of personal and collective memories.
Throughout his life, poet Muin Bseiso narrated the history of Palestinian struggle and criticized Western portrayals of Gaza. Today, Bseiso’s son dodges Israeli bombs to preserve his archives.
For a few years in Oman, revolutionaries freed slaves, founded water cooperatives, and sent women to school. Then came the counterrevolution.
What to do with the affective legacies of the Iranian left?
“The Other Two” and a spate of recent comedies claim to mock celebrities while juicing their star power for references and cameos.
Eleanor Catton’s "Birnam Wood" is a leftist novel filled with radicals who fail to exemplify their own ideals.
The city’s ports may be physically located in the imperial core—inside the barricades of the USA—but their tendrils span the globe.
Is there a path for living that acknowledges, and allows us to start from, our careful attachments in order to connect with others in politically productive ways?
“In order to understand the multi-dimensionality of the global book industry, we urgently need to move beyond standard methods alone.”
Is the college admissions essay (CAE) a useful tool for understanding ongoing transformations in literature, academia, and publishing?
One novelist spotlights an object, feeling, or sensation where the relay between past and present, or present and future, becomes visible.
How do current social and political arrangements limit our opportunities for feeling better?
Afropantheology seeks the freedom of the artist to express stories unbridled by Western labels and terminologies and the need for conformity to defined (often limited) literary standards.
"My task was to make this ancient poem about death feel vividly, unarguably alive."
Universities have disinvested from their presses just as much as their humanities departments and libraries. Will working together stop it?
In contemporary fiction, “literary evil” has been replaced by “neurotics, malingerers, failed imposters”—but what are the consequences of this indifference to evil and the assumed moral neutrality?
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.
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.