Sean Guynes is a reviewer, critic, and editor who lives in Ann Arbor, Michigan. He is co-editor of Star Wars and the History of Transmedia Storytelling (2017) and Unstable Masks: Whiteness and American Superhero Comics (2020), and editor of SFRA Review.
Frederick Luis Aldama's Eisner-winning history, Latinx Superheroes in Mainstream Comics, uncovers ways in which the mainstream American comic-book industry regularly shortchanges characters who represent marginalized peoples.
Jamil Jan Kochai's 99 Nights in Logar is a fine novel about an Afghan-American boy returning to Afghanistan that reminds us where the publishing industry puts it money.
Nora Ikstena's autofictional history, Soviet Milk, exposes the violence of the Soviet institutionalization of motherhood as a civic duty that was incorporated into the ideological and social structure of Soviet life.
From its inception as a blogging project to its culmination into a beautiful art book, Dave Addey's Typeset in the Future is a wonderful but expensive look at typography and design in popular science-fiction films.
Niviaq Korneliussen's third novel, Last Night in Nuuk, tackles homophobia, coming out, millennial malaise, finding love, being a shit friend, and so much more.
Inuk musician/writer Tanya Tagaq's first novel, Split Tooth, tells a magical, fucked-up story about teenage girls' adolescence in the Arctic.
Wayétu Moore's She Would Be King is an important exploration of power, identity, and belonging at a major historical junction in African diasporic and Liberian history.
Mark Fisher's posthumous collection of essays, k-punk, edited by Darren Ambrose, is an important reminder of the power and versatility of Leftist thinking in horrible times.
Neoliberalism offers the illusion of choice. The triumph of geek culture is an illusion of triumph; it's just another way to be bought—and to like it. A critique of A.D. Jameson's I Find Your Lack of Faith Disturbing.
Hagy's new novel, Scribe, a beautiful work clearly rooted in the ethos of the Program Era, seems the very example of a return to the bourgeois novel of art for art's sake.
Donna Zuckerberg's Not All Dead White Men is a powerful study of the ways the alt-right distorts the understanding of ancient Greek and Roman literature to serve hateful interests today.
Kadare's The Traitor's Niche suggests that to belong to the state is to either be a part of the machineries of power or in rebellion against them—and occasionally both.