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Omnivore

The Euro area crisis

Sergio Fabbrini (LUISS): Emerging from the Euro Crisis: The Institutional Dilemmas of a Political Union; and After the Euro Crisis: A New Paradigm on the Integration of Europe. Athanasios Orphanides (MIT): The Euro Area Crisis: Politics Over Economics. C. Kreuder Sonnen (WZB): Global Exceptionalism and the Euro Crisis: Schmittian Challenges to Conflicts-Law Constitutionalism. Charles B. Blankart (Humboldt): From Friends to Enemies? The Euro as a Cause of New Nationalism. Caterina Froio (EUI):


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

Syllabi

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.

Interviews

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?

Cinema

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

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