Russia is gonna do some crazy shit soon

Aristidis Tsatsos (Humboldt): The Geopolitical Role of Orthodox Russia within a Planetary Context: A Hellenic Perspective? From New Left Review, Tom Parfitt interviews Gleb Pavlovsky on Putin’s world outlook. Peter Pomerantsev on Russia’s ideology: There is no truth. Roberto Orsi on the demonisation of Putin. Putin’s coup: Ben Judah on how the Russian leader used the Ukraine crisis to consolidate his dictatorship. Matthew Luxmoore on how Russia's publishing industry is churning out revisionist

Paper Trail

At n+1, Nicholas Dames writes about a handful of books based in the 1970s, among them Rachel Kushner’s The Flamethrowers, Jhumpa Lahiri’s The Lowland, Norman Rush’s Subtle Bodies, and Darcey Steinke’s Sister Golden Hair. “Here is the territory the novels evoke: a mythic late summer, spacious, unsupervised, a little druggy, a little restless, hedged only


Andre Dubus's best characters

Bibi DeitzAndre 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

The Dog

We now see a new kind of migration: that of the cosmopolitan, the emigrant, the exile pushed out into the world, spreading away from the imperial center. The protagonists begin in the metropoles and often end up in the provinces. Consummate insiders—bankers, lawyers, doctors, professors—they find themselves on the outside. In a state of seemingly endless movement, this new figure finds him- or herself a perennial stranger.


Meghan Daum

Meghan Daum published her first collection of essays, My Misspent Youth (2001), to wide praise. In the title essay, Daum described living in Manhattan as a writer in her mid-twenties, and the difficulty of discerning truth from fantasy in a city that lends itself to easy mythologizing.


A Store of Half-Knowledge

Charles D'Ambrosio

The essay, at its best, is a genre shaped by the character of its author. Charles D’Ambrosio describes it as “a forum for self-doubt.” The author’s irresolution runs throughout Loitering, his new collection. “We are more intimately bound to one another by our kindred doubts than our brave conclusions,” he notes. By communicating uncertainty, D’Ambrosio eases its isolation.