Bob Dylan's "Murder Most Foul" is a 17-minute story song about JFK's assassination and a suitable audio dispatch from and for the end times.
Reading the Library of America's comprehensive anthology, Joan Didion: The 1960s & 70s, is like walking out of the rain and into a time warp.
Matthew Gutmann's Are Men Animals is and interesting but flawed, rushed look at masculinity that suffers from digressions and an unwillingness to be as political as it could have been.
The similes in Miriam Cohen's impressive debut short story collection, Adults and Other Children, are perfectly attuned to the essence of her characters.
Although his works evoke Charles Bukowski, Flannery O'Connor, Carson McCullers, and William Faulkner, Larry Brown's unapologetic characters were always his own.
TV star/writer/podcast host -- just don't call him a standup comic -- John Hodgman tackles class aspiration and other inconveniences in his memoir, Medallion Status.
With his latest, The Cockroach, the otherwise masterful British novelist Ian McEwan proves that too much cleverness can kill satire.
Dave Eggers' latest is a slim satire about the sinking ship of Donald Trump and the potential sinking of the glorious ship of State.
Social historian Sam Wasson's The Big Goodbye: Chinatown and the Last Years of Hollywood, is a graceful and compelling elegy to both Roman Polanski's landmark film, and the end times of old Hollywood.
Mister Rogers and Philosophy considers reality, fantasy, and our philosophical role in both worlds of the long-running PBS children's program, Mister Rogers' Neighborhood.
Steven Bingen's Easy Rider: 50 Years Looking for America makes clear that he thinks Dennis Hopper's Easy Rider is a great film and it's not for the critics to decide.
Larry Charles' misunderstood dystopic arthouse movie from 2003, Masked and Anonymous, becomes real in Trump's 2019 Impeachment America.
Martin Scorsese, Francis Ford Coppola, and other members of the old guard might be battling with the MCU about the quality of superhero movies, but the business of how we consume film is changing, like it or not.
Bruce Springsteen's 1995 album, The Ghost of Tom Joad, inherited and built upon some powerful 20th century American literary, political, and pop culture themes. Can we hear its haunting call in these times?
Folk tales, fantasy, pop culture and family weave gracefully throughout Carmen Maria Machado's harrowing yet graceful memoir of domestic abuse, In the Dream House.
Although Andre Perry's essays in his debut, Some of Us Are Very Hungry Now, traverse various geographical journeys, they are, overall, ballads, images from the self, the man isolated and marginalized in other countries and in his own land.
Adam Bradley's The Poetry of Pop works for what it obviously wants to be, a primer on American popular music.