The Albert Camus of Travels in the Americas diaries is a passionate, despairing reckoner with the struggles of earthly existence, both personal and societal.
Rick Rubin’s The Creative Act is, as his rap often was, minimalist and maximalist – musically austere but lyrically extravagant and self-aggrandizing.
In Scritti Politti’s Songs to Remember, Green Gartside comically challenges hegemonic structures in a perfect harmony of philosophy and pop.
Inspired by Japanese Buddhism and American pop culture, the grotesque is a metaphor for normalcy in the horror video game Silent Hill.
Shakespeare, Knut Hamsun, Flannery O’Connor, and the Medieval Icelandic Göngu-Hrolfs saga each explore who is the alien, and who is alienated, within our borders.
In Gramscian fashion, Frétigné details the material conditions of Antonio Gramsci’s insight and influence while shirking historical determinism and abstract idealism.
Why create such a highly-fictionalized, aestheticized setting as Life Is Strange to express the confusion and contradictions of life?
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.
Andrew H. Miller’s On Not Being Someone Else considers how contemplating other possibilities for one’s life creates meaning in the life one leads.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.