“Oreo” is not the easiest read, but it is a book that is, in many ways, written against ease.
Britain’s “Second City” profited from shipbuilding and the slave trade, but has slowly declined for decades. What should Glasgow’s future hold?
A fundamental truth about bestseller lists? They are not a neutral window into what the public is really reading.
Industry is already using data to remake culture. To reverse the tide—to make culture more equitable—we need to decode that data for ourselves.
Does loving a work of literature mean seizing it? How should critics feel about their feelings toward a text?
Lamming never lets readers forget that within that one man—as within all of us—is a boiling multitude.
His characters—in 1919 Ireland, 1857 India, and 1940 Singapore—intuit that the world is about to collapse. But they can do nothing to save it.
Butler’s work helps us see how time is a spiral, how the present moment is always layered with multiple pasts and underlying alternate futures.
Rather than politically utopian, Butler’s stories teach us about grief, consolation, hope, and—most of all—how to live in struggle.
Pandemics, racist violence, climate change, democratic collapse: it’s finally clear that it’s Butler’s world. We’re just living in it.
Agatha Christie’s “At Bertram’s Hotel” allows us to have our nostalgic cake and read it too.
Why are Anglophone novels more worthy of attention than Ottoman shadow puppetry or the art of knot-tying? Just what are the humanities for?
“One way to think about the act of annotating is that you are that meddlesome party gossip, telling the reader how to draw connections between the different parts of the text.”
Within western poetry, women writers of color—and their lived experiences—are not nearly as recognized nor represented as their white peers.
“This is not lowered expectations. It’s a wish for a mass normalization of resistance to deadly ways of looking at the world.”
In May 1381, rebels burned documents at Cambridge, then scattered the ashes to the wind. But why were universities targeted by the rebels?
The humanities have a replication crisis of monumental proportions: so many theories have never been adequately tested or validated.
The revelrous, rebellious writing of Hejinian—arguably our foremost poet-critic—works against our sense of psychological and political isolation.
Despite using a pseudonym, Ferrante has made clear how readers should understand her work. Should critics listen?