George Cain's 1970 semi-autobiographical novel Blueschild Baby, recently republished by Ecco, is a difficult and unapologetic work about the life of a functioning drug addict. In this interview Imran Khan discusses Cain's work and life with his ex-wife, Jo Lynne, and son, Malik.
Mark Jenkin's haunting Bait exhibits a ghostliness that complements the film's transient landscape of seasonal capital and short-term holiday lets.
Even as Black America continues to battle crime, violence, death, and a hostile political and economic policy, it can be soothing to peer through the haze and marvel at the richness of Black American stories. Two such stories: Floyd Patterson and Fats Domino.
Author Fatima Bhutto profiles the new arbiters of mass culture: Bollywood, Dizi, and K-pop, in her engaging cultural studies/travelogue, New Kings of the World.
In The Skin We're In, Canadian journalist Desmond Cole reveals the shocking scale of racism in a country that prefers to look the other way.
Figuring out some arguments by exegesis: a witty conversation with author, artist, and academic, Wayne Koestenbaum.
The Staple Singers' Stax recording, Come Go with Me, captures their transformation from the church-wrecking gospel highway to the soul-filling pop charts.
Natalia Leite's 2015 film Bare picks up where Barbara Loden's 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.
Social anthropologist Erika Fatland eschews many of the clichés of Post-Soviet travel writing, providing an incident-packed trip to a vast, often-overlooked region in Sovietistan.
Lyricist Aaron Weiss of post-punk Christian band mewithoutyou used the F-word in a song and it got banned from radio and the album got pulled from record stores. Meanwhile, his fans ponder his parodying of cultural mores.
Camille Billops moved beyond predictable and well-tread ground to open up space for new narratives in her films—about Black families, Black women, and Black middle-class life—that pulled on her distinctive and unapologetic worldview.
In a brave new world dominated by platforms such as Facebook, Uber, and Airbnb, and marked by anxiety in the Age of the Anthropocene, McKenzie Wark's Capital Is Dead eschews digital utopianism for a sense of urgency that recognizes things have gotten serious.
Why, despite all the knowledge we've gained and the technology we've harnessed, do we cling to our mythologies?
Award-winning lawyer Ben Crump's Open Season irrefutably documents how America's treatment of Black Americans and other minorities is indistinguishable from genocide.
Harry Harootunian's essays on modern Japanese history, collected in Uneven Moments from Columbia University Press, reflect a lifetime of intellectual contributions and span a wide range of topics in Japanese history. The tension between the historical and the everyday is a recurrent and vital theme in his work.
Focusing on European societies, with comparisons from East Asia, India, Africa, and South America, Yellow tells the intriguing story of the color's evolving place in art, religion, fashion, literature, and science. Enjoy this excerpt of historian Michel Pastoureau's Yellow: The History of a Color, courtesy of Princeton University Press.
Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, the contributors to Abjection Incorporated examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Enjoy this generous excerpt, courtesy of Duke University Press.
When was the last time you went an entire day without encountering a face? Probably literally never.
The Mexican student struggle of 1968 reaches forward to democratic struggles today. Captured by Paco Ignacio Taibo II in two works, 1982's Calling All Heroes and this year's '68: The Mexican Autumn of the Tlatelolco Massacre, it's a powerful reminder of the resilience of democracy.