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Omnivore

Two kinds

A new issue of Autonomy: The Critical Journal of Interdisciplinary Autism Studies is out. Michael Kelly (San Diego): Bullshit as the Absence of Truthfulness. Jane Bailey (Ottawa): “Gendering Big Brother”: What Should a Feminist Do? Alistair Welchman (UTSA): The Concept of Eternity in Kant and Post-Kantian European Thought. Gennaro Ascione (Naples): Unthinking Modernity: Historical‐Sociological, Epistemological and Logical Pathways. Carola Binder on the limited political implications of behavioral


Paper Trail

The Times Literary Supplement drew gleeful scorn online after publishing, with extended and enthusiastic commentary, a lost Philip Larkin poem that, in fact, wasn’t one (it’s by Frank Redpath, one of Hull’s less famous poets, and appeared in a 1982 anthology). No more free e-books? Publishers have won a High Court ruling in London that

Syllabi

The Innocent/Corrupt

Adam ThirlwellA narrator is a much stranger toy at the novelist's disposal than is usually thought. It's not just something as depressingly ordinary as a character—more a vast system of smuggling. And there's one

Daily Review

The Sympathizer

From the grand ’Nam narratives of ’70s cinema to the works of creative-writing-syllabus mainstays like Tim O’Brien and Robert Olen Butler, representations of Vietnam and the war we staged there are some of our most indelible and critically renowned cultural products.

Interviews

Dale Peck

Dale Peck is not known for understatement. His reviews, collected under the title Hatchet Jobs, earned him a reputation as one of the most scathing critics of his generation's revered literary voices. Peck's 1993 debut novel, Martin and John, was released as Fucking Martin in the UK.

Essay

Dennis Cooper's Haunted HTML Novel

Paige K. Bradley

You could call Dennis Cooper's new HTML novel, Zac’s Haunted House, many things: net art, a glorified Tumblr, a visual novel, a mood board, or a dark night of the Internet's soul. It has just a few words—the chapter titles and a few subtitles embedded in some of the gifs—but it still very clearly belongs to Cooper’s own haunted oeuvre, capable of evoking powerful and gnarled emotions.

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