In the spotlight

Laurence Tai (NYU): Fast Fixes for FOIA. Emanuela Ceva (Pavia): Political Justification Through Democratic Participation: The Case for Conscientious Objection. Julia Moszkowicz (Southampton): Time, Narrative and the Gutter: How Philosophical Thinking Can Make Something Out of Nothing. David A. Hyman (Illinois) and Shirley Svorny (Cal State-Northridge): If Professions are Just “Cartels by Another Name”, What Should We Do About It? From Territory and Justice Network, a symposia on Kantian Theories

Paper Trail

The poet Galway Kinnell died on Tuesday in Vermont. He was eighty-seven. Poetry, Kinnell said, “is somebody standing up, so to speak, and saying, with as little concealment as possible, what it is for him or her to be on earth at this moment.” Read some of his poems at the Poetry Foundation. Knopf has



Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Sister Golden Hair

Over the course of five novels, Darcey Steinke has sought to map and elevate the soul of her protagonists, usually female seekers overlooked by their thick-skinned, even-keeled peers. Part detective, part medium, part anthropologist, the Steinke heroine is voracious for pleasure—but too wise to look away from ugliness.


Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?


Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and