Poised to step in

Ross E. Davies (George Mason): Lego and Law: Linking the Gilded Age and Today. Scott Johnson (Georgetown): Real and Imagined Geography. Jason Rivera (Rutgers): Resistance to Change: Understanding Why Disaster Response and Recovery Institutions are Set in Their Ways. Emily M. Crookston (Coastal Carolina): Love and (Polygamous) Marriage? A Liberal Case Against Polygamy. From Global Review: A Biannual Special Topics Journal, a special issue on archives and networks of modernism. Wolfgang Schauble

Paper Trail

The Intercept gives the backstory to Matt Taibbi’s recent departure from First Look (its parent company), describing his resignation as the result of “months of contentious disputes” that Taibbi had with Pierre Omidyar, Randy Ching, and John Temple (First Look’s founder, COO, and president, respectively). Taibbi had been hired to head Racket, which was conceived


Andre Dubus's best characters

Andre Dubus's literary superpower is to hit upon that one thing about a character that makes him him, or her her. And in so doing, with subtle, clever details—breadcrumbs on the trail to the nucleus

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