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Omnivore

A woman's place is on the Internet

Mary Manjikian (Regent): The Magic of Completeness and the Politics of Invisibility: A Feminist Response to Big Data. From Women, Action and the Media, a report on what harassment looks like on Twitter, and how Twitter responds to it. Amanda Hess on why women aren't welcome on the Internet. Feminist writers are so besieged by online abuse that some have begun to retire. Anne Theriault on calling female online harassment what it really is: terrorism. S.E. Smith on how death threats became the new


Paper Trail

Washington Post reporter Jason Rezaian, who was the paper’s Tehran bureau chief, was arrested on espionage charges last July. His, trial, which starts today, is closed to the public, and to his family. The Post sought a visa to send an editor to attend the trial, but the request was ignored. In a statement released

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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