The lovely cadences in Summer Brennan's High Heel stack up like so many sand castles that sift iconic examples of high heels into a finely grained pile of pros and cons that each reader will sift through quite differently.
In this excerpt of a history of the UK music press, A Hidden Landscape Once a Week, Tony Stewart recalls his time as writer and deputy editor at NME (1971-85) — the strengths and pleasures of teamwork and the vital role of the visual in the energies of a rock paper.
Nora Ikstena's autofictional history, Soviet Milk, exposes the violence of the Soviet institutionalization of motherhood as a civic duty that was incorporated into the ideological and social structure of Soviet life.
Why must I tote around a book the size of a '90s-era laptop computer, carried in a bag slung over aching shoulders and twisted back, while my friends in Japan can enjoy the same book slipped near weightlessly into their pants pocket?
The selected stories this month have a touch or more of surrealism and their writers — Daniel Mallory Ortberg, Sarah Hall, Robert Olen Butler, Beth Goder, and Jackie Kay — explore the humanity of our species and our relationships with other living species.
In an apparent attempt to generate understanding and contextuality in film history, David Thomson only ends up perpetuating myths and stigmas against homosexuals in his latest, Sleeping with Strangers.
As political partisanship grows more fierce let us realize what happens when such bluster and rage escape the realm of the abstract. Scholastique Mukasonga's The Barefoot Woman is a thoughtful tribute to her mother, who was murdered in the Rwandan genocide.
These days, when personal grief becomes a public performance on social media, it's heartening to have a book such as Katharine Smyth's All the Lives We Ever Lived, wherein deep introspection is given space and literature provides both solace and inspiration.