Max McKenna is a writer and editor whose writing has appeared in print and online in The Journal of Modern Literature, The Millions, Full Stop, Chicago Review, Newcity, and elsewhere. He lives and works in Chicago.
In rendering his most avant-garde characters as members of a kind of self-help conspiracy in The Made-Up Man, Joseph Scapellato offers not an update but a revision of absurdism, and as such, many social phenomena ripe for satire get off easy.
As an artist who boldly blurs the line between avant-garde aesthetics and pop accessibility, Julia Holter's new album comes at us as a statement, and one that speaks to the power of her artistic journey.
We should take seriously indie rock trends driven by nostalgia— the revival of white rock forms, the whitewashing of disco and yacht rock, and the rise of normcore—as what they are: conservative gestures flying under the radar in a climate of poptimist reappraisal.