In her history of women in punk music, Revenge of the She-Punks, Vivien Goldman hefts the scene's virtues and the vices into one heap and concludes that some of it was necessary, some of it was fun, and some of it was evil.
Adjustment Day may not be peak Palahniuk, but it is nonetheless entertaining and twistedly educational, providing abundantly peculiar and original paths within one of his most astute and necessary social commentaries to date.
John Corbett's writing is often poetic in Pick Up the Pieces: Excursions in Seventies Music, with each essay being a resonant reflection on the music, artists, scenes, and memories seemingly etched deeply in his being.
Blurgits—the drawing of multiple limbs to suggest motion— is effective in Yann Kebbi's artwork for The Structure Is Rotten, Comrade, creating a world teetering on carefully crafted incoherence—which is well suited to Viken Berberian's script.
His intellectual and journalistic training, coupled with an eloquent capacity for literary expression, enables Behrouz Boochani to bridge the lived experience of refugees with non-refugee audiences and to express it in the context of the critical social and political theory which shapes intellectual elites' understanding of the refugee crisis.
Like the characters that Umberto Eco captured in his first three novels, those of In the Night Wood are literary obsessives inspired, baffled, or haunted by texts, codes, cryptic nomenclature, dashed off scribbles, pagan mythology, and weird imagery.