Books
Landing Instructions for Derrida
In his book, An Event, Perhaps, Derrida's intellectual development is adroitly unpacked by Peter Salmon without bamboozling the reader or peddling dime-store psychologizing.
In his book, An Event, Perhaps, Derrida's intellectual development is adroitly unpacked by Peter Salmon without bamboozling the reader or peddling dime-store psychologizing.
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In Jennifer Howard's social history, Clutter, the emotional relationship to the material world is critical in trying to understand her mother's hoarding behaviors.
Where things don't quite add up in autobiography Inside Story, Martin Amis fashions the untidy sum into a sort of punchline; where there aren't any punchlines, he makes the mess into a cosmic joke.
We didn't turn to fiction for those much needed periods of escapism in 2020. Nor did we turn to fiction for answers, because of course, the best fiction doesn't provide "answers". We turned to these works of fiction for the questions they raise.
In the stormy year of 2020 PopMatters' staff have clung to anything seemingly solid with one hand while holding a good book in the other. Through it all, we are curious, engaged, and eager to share what we've read with you.
Tension is inescapable in Warren Read's story about a need to escape, One Simple Thing.
Gabriel Bump's protagonist in Everywhere You Don't Belong is an everyman who often mounts his narrative plateau with the discriminating eye of a filmmaker. This interview with Bump has us wondering, should he write a screenplay?
In Dennis E. Staples' remarkable debut, This Town Sleeps, flawed mothers and sons must pacify vengeful ghosts and family curses. As if loving each other wasn't hard enough.
What kind of relationship do Gaiman and Shakespeare have? Is one a parasite on the other?
Ferdinand Mount's gripping family memoir, Kiss Myself Goodbye, paints a calamitous picture of one of its supporting characters, Georgie. But I knew her closely for over 40 years. She not only transcended tragedy but helped me do the same.
The Trump-bolstered radical right are akin to fourth-century Christian fanatics who -- in the space of a single generation -- transformed the Roman empire from a state of broadly tolerant religious plurality to one of violence and societal destruction.
So you think you know the difference between right and wrong? Sure about that? Juan Enriquez's Right/Wrong, excerpted here courtesy of MIT Press, might shake you loose from your convictions.
Are you ready for the Fourth Industrial Revolution? Can you imagine, for example, a hospital completely made of software? These and other forthcoming changes to the workplace and the global economy are explored in this excerpt of George Zarkadakis' Cyber Republic, courtesy of MIT Press.
Every Day We Get More Illegal, seems to foretell a diatribe vibe, but threaded throughout Herrera's verse is the musicality--the calming, invigorating melodies that remind us, ever so sweetly, if insistently: Latino lives are beloved.
In Calling Memory into Place, art historian and cultural critic Dora Apel explores the relationship between collective and personal memory and place in a series of reflective essays that are by turns erudite and personal.
Marjane Satrapi is a complicated woman living and working at the intersection of many overlapping identity factors, and her books Persepolis and Embroideries provide us different facets through which to view this complex of relations.
33 1/3 book 24-Carat Black's Ghetto: Misfortune's Wealth, is a refreshing outlier in the series in that it's about an influential yet barely known album.
David Menconi's Step It Up is an absorbing love letter to the artists, scenes, and sounds of North Carolina's contributions to American popular music.
Elizabeth Bear's idealistic, positive future would be a Tea Party Republican's worst nightmare. Her latest book, Machine, explores the possibility fearlessly.
From satire and portraiture to politicized pop, ¡Printing the Revolution! examines how artists created visually captivating graphics that catalyzed audiences. Enjoy this visually gorgeous excerpt courtesy of The Smithsonian American Art Museum and Princeton University Press.
In Josephine Decker's biographical film, Shirley, Shirley Jackson is only partially seen as the darkness conveyed obscures the light.
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