
Robyn Hitchcock’s Tale of Two Obsessions
The beating heart of Robyn Hitchcock’s memoir, Stranded in the Future, is not necessarily his career but two great obsessions that inspired it.
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The beating heart of Robyn Hitchcock’s memoir, Stranded in the Future, is not necessarily his career but two great obsessions that inspired it.

Michael Bracewell’s latest novella is a Proustian, circuitous meditation on the 1980s zeitgeist, shaped by personal recollections of the Smiths.

Among his many discoveries about the Velvet Underground, Richie Unterberger’s description of unheard tapes will have fans salivating.

In today’s overstuffed, mainstream culture of recycled “art”, nothing old moves and nothing new gets through. It’s enough to make a Gen-Xer pretty damn cranky.

For all its couture fashion and bio-pic fluff, Love Story: John F. Kennedy Jr. and Carolyn Bessette is radical in how it echoes Laura Kipnis’ polemic, Against Love.

Guillermo Stitch’s metafiction The Coast of Everything is the sort of book that makes you feel simultaneously more intelligent and more illiterate.

The horror in Will Maclean’s Solace House is informed by preoccupations as diverse as Usborne Books’ Mysteries of the Unknowm, The Backrooms, Shirley Jackson, and Donna Tartt.

Recomposed explores how musicians and entrepreneurs of the “great recomposition” attempt to reconcile ecological responsibility with financial self-preservation, revealing the difficulty of pursuing climate action within market logic itself.

Vampires once symbolized aristocratic tyranny, but now mirror decadent late-capitalist enthrallment. Our ecstasy of submission – to the vampire, the corporation, the franchise reboot, the Kickstarter campaign – offers relief from the heavy burden of autonomy.

Journalist James Verini resurfaces the stories of those who sheltered from Putin’s war in the iconic Ukrainian theater, peeling back layers on a microcosm of the country’s struggle for cultural survival.

Kathleen Spaltro’s biography of Ethel Barrymore explores how her acceptance of her familial fate as a serious actor came at great cost to her creativity.

Among the most coveted spoils of America’s wars, critic Andrew Cockburn argues, is the money pulled from taxpayers’ pockets never to be returned to the country’s social welfare.