Self-Deprecating Nonchalance: ‘Prine on Prine’
The “interviews and encounters” in Prine on Prine reveal John Prine’s care for others, and his self-deprecation and nonchalance about his accomplished career.
The “interviews and encounters” in Prine on Prine reveal John Prine’s care for others, and his self-deprecation and nonchalance about his accomplished career.
Despite claiming that QAnon believers will never see reason, Operation Mindfuck tries, in Hunter S. Thompson fashion, to explain why they’re wrong.
Going for Broke: Living on the Edge in the World’s Richest Country turns to the real experts on economic hardship in America: those who live it.
Girlfriend on Mars equips itself nicely on the climate change front, but subsuming that narrative and the tensions within it into the love story redirects the novel’s orbit.
Tokens is about all those things that are moneyish—monetary-like exchanges that are tracked and programmable, shady and social, hard coded and beyond borders.
With the same shocking specificity that sets apart her poetry, Ruth Madievsky’s All-Night Pharmacy brings us uncomfortably close to everything the narrator witnesses in a hospital waiting room.
Chuck D’s style in his three-volume, Covid-era graphic novel STEWdio can be described as neo-expressionistic with images and text often intertwined like Jean-Michael Basquiat’s art.
W. E. B. Du Bois hoped that WWI would help Black Americans make gains at home after serving their country abroad. His work for racial progress, like America itself, remains unfinished.
In Monsters, Claire Dederer explores how fans’ “dumb love” of art can exist with “heartbreak” and unresolved feelings about monstrous artists.
Rick Rubin’s The Creative Act is, as his rap often was, minimalist and maximalist – musically austere but lyrically extravagant and self-aggrandizing.
With its focus on tellings, retellings, recreation, and the act of seeing Philip Jason’s Window Eyes takes poignant notice of the all-encompassing perspectives we create with the people we love.
In The Listeners, scholar Brian Hochman narrates a history of surveillance in the United States by means of technological cunning up to 2001.