How Far the Light Reaches weaves struggles with identity – gender identity, sexuality, ethnicity, and body image – with the immense diversity of marine life, revealing new ways to think about ourselves.
In Women Talking, director Sarah Polley masterfully illustrates how new futures can be possible by reckoning and wrestling with the past and present.
David Duchovny’s novella The Reservoir drifts into the murky depths of the fever dream state of isolation and dislocation.
The essay anthology It Came from the Closet demonstrates the breadth and depth of queer identity that lurks within the horror genre.
Situating his study at sites of conflict and interviewing artists, scholar John Lennon’s Conflict Graffiti gives readers new perspectives for interpreting the graffiti and street art they encounter.
With Boulder, Eva Baltasar lays bare with her incisive power of observation and blade-like prose the unpleasant realities of parenthood.
Medievalist Hana Videen’s The Wordhord relies on remaining fragments of documented Old English to conjure the daily life of Anglo-Saxons.
Noah Baumbach’s adaptation of Don DeLillo’s White Noise shows what a movie can do, but mainly what fiction still does better.
This year’s collection of best books varies broadly, yet they all seem to address an overarching theme: How well do we really know ourselves and our world?
Bob Stanley provides an utterly comprehensive and much-appreciated reference guide for the world of pre-rock pop music. We just need to carve out a million hours to stream the music.
All women should have easy access to Caroline Hagood’s bloody but unbowed heart of feminist grotesquerie, Weird Girls.
