Paul Lopes's Art Rebels is a study that tries (and only partly succeeds) to fit two great artists -- Miles Davis and Martin Scorsese -- into clearly defined categories.
There are a great deal of positive and memorable passages to be found in Eudora Welty's stories set during the pre-Civil Rights United States -- for those willing to swim through the problematic waters.
Colson Whiteheads' The Nickle Boys fictionalizes the true story of a Florida prison for boys in the 1960s, further exploring America's furtive legacy of racist violence.
Rob Marshall's upcoming The Little Mermaid, starring Halle Bailey in the traditionally white character role of Ariel, sure has stirred things up in the sea of social media. Disney-glittered little girls, it seems, see it differently.
"White flights" for Jess Row denotes the "postures of avoidance and denial" about whiteness — as a privilege, a cultural norm, and a burden — adopted by white authors, academics, and critics.
'Authenticity' is an ideological construct that should be questioned and critiqued, as Nahnatchka Khan has done so well in her film, Always Be My Maybe.
I've sworn, after learning about the latest kleptocrat billionaire to buy a club, or scrambling from the clash between hooligans and riot police, or hearing a homophobic chant rise up from the stands, I would give up on the game. Anyone with sense would.
Originally produced as fascism spread throughout Europe and nativism spread in the US, Oklahoma!'s exploration of belonging was a conspicuously political one.
If happiness usually proves duplicitous, and melancholy a dependable constant, then the journey of an epic Joyce Carol Oates novel is always going to be a trip worth experiencing, as with My Life As a Rat.