Louise Erdrich’s ‘The Sentence’ Is a Ghost Story and Epitaph for the Covid Shutdown
Louise Erdrich’s The Sentence becomes a way to acknowledge the surrealism that has always pulsated just beneath the surface of American life.
Louise Erdrich’s The Sentence becomes a way to acknowledge the surrealism that has always pulsated just beneath the surface of American life.
The 1980s began on 10 February 1978, with the release of Van Halen’s self-titled debut album, now celebrating its 45th anniversary.
Noah Baumbach’s adaptation of Don DeLillo’s White Noise shows what a movie can do, but mainly what fiction still does better.
How were Rage Against the Machine so far ahead of their time, not just as political bellwethers but with a sound reaching past genres to create something entirely new?
Could the cynicism associated with grunge, Gen X, and early 1990s rock have instead been replaced with sincerity if Soul Asylum’s Grave Dancers Union had been the hit rather than Nirvana’s Nevermind?
In Bodies: Life and Death in Music, critic Ian Winwood chronicles the wreckage of a reckless industry and wonders if there is another way.
Jennifer Egan’s The Candy House is an EDM concert, a prestige drama, a mind palace – and a warning.
Like Philip Roth and Kurt Vonnegut before him, Noah Hawley hopes his novel, Anthem, can compete with reality.
Breaking form with his latest work, Crossroads, Franzen has not written a social novel. He has written an Antisocial Novel.
In his book The Storyteller, both successful Nirvana drummer and Foo Fighters frontman Dave Grohl the Punk, and lucky Dave Grohl the Everyman, come out smiling.
For intellectual historian Louis Menand, the Cold War gave rise to prospects and paradoxes in America, and Art was given status through essential criticism.
Nöthin’ But a Good Time takes readers on a loud tour of the monster decade of the ’80s, but not for the reasons you’d think.