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by Imran Khan

27 Jun 2016


His rise to fame was spectacular but brief; as the lead in Berry Gordy’s deathless, runaway cult hit The Last Dragon, Taimak delivered audiences a character whose slash and burn approach to the martial arts was strangely offset by his quiet, unassuming charm. In Bruce Leroy, Taimak created an anomaly of personalities, housed in an individual who became emblematic of the contradiction to black stereotypes in film presented at the time. 

The year of the film’s release, 1985, came and went. And it seemed that Taimak did, too. What should have been a meteoric rise to fame was, in fact, a quickly extinguished flame.

by Erin Giannini

22 Jun 2016


Stephen King and George R. R. Martin (photographer unknown)

I wasn’t entirely sure what to expect from “A Night With Stephen King”—which sounds amusingly like a reality show with potential horror elements—one of the numerous King author events as part of his tour to promote End of Watch, the final book in King’s Bill Hodges trilogy. The last-minute addition of George R. R. Martin as the moderator left me even more at sea. Would it be a reading from the book? A Q & A where a select few could parse King’s motivations or habits or plot points?

It was actually none of these things, and still managed to be an enjoyable evening. Set at the 2 300-seat Kiva Auditorium at the Albuquerque Convention Center (which looked to be filled at approximately 75 percent capacity), it resembled nothing as much as a two-man, one-act play. The stage was set with two comfortable leather chairs, with King on the left, his long legs stretched out in front of him, while Martin sat to the right, facing King while they traded stories about writing, politics, the nature of evil, and oddly enough, rats.

by Diane Leach

18 Apr 2016


Marta Zaraska opens Meathooked by reassuring readers of her scientific detachment: “I may be a vegetarian, but I won’t tell you how much meat you should or shouldn’t eat. I’ll just give you the facts.”

Instead, readers are subject to a vegetarian manifesto masquerading as scientific journalism. The use of descriptors more commonly applied to drug addicts is unsettling and offensive, e.g., meat is described as an addictive substance people are either “off” or “on”. Any meat-eater, be they human, animal, or bacterial, is “meathooked”.

by Imran Khan

21 Mar 2016


When I was nine years of age, I would spend hours chicken-pecking out a story on my mother’s electric typewriter, which we kept in the basement. The key for the letter L didn’t work properly, so sometimes when I was typing away it would jam and stick. What would follow would be the hideous, repetitive clacking of a single letter, which would soon fill the entire page with L’s. There was no way to turn it off, save for unplugging the machine. Thus, my story would be ruined.

Later, when my parents divorced and we moved, I’d found an old Remington typewriter tucked behind the piping in the storage space of our new house. It looked like it was falling apart, but I kept it and stored it away, where it continues to collect dust to this day. In the wake of digital technology, I suppose typewriters have become an afterthought. But Richard Polt’s The Typewriter Revolution reacquaints me with the romance of these simple but extraordinary machines.

by Imran Khan

3 Mar 2016


This article is brought to you in partnership with Orbit Books.

In Jordanna Max Brodsky’s at once familiar and promethean world of The Immortals, everyday life as we know it becomes the revisionist undertaking of a writer using Greek mythology as a sculptural tool. Brodsky’s novel is an urban fantasy, a genre that has developed a large following in the last ten years or so, but it’s also an inverse reading on gender politics—one that often finds cynicism on either end of the feminist literary debate. Brodsky’s primary tool for exploratory human drama is Artemis, embodied by the protagonist Selene DiSilva, who endeavours to protect women in need by means of stealth and aggression.

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