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Omnivore

An ongoing trend

Danijela Prosic-Santovac (Novi Sad): Happily Ever After: (De)Constructing Cultural Values across Centuries. Rob Koons (Texas): Political Representation, Human Nature, and the Problem of Scale. Jeroen J. J. Van den Bosch (Adam Mickiewicz): Mapping Political Regime Typologies. Timothy M. Ravich (UCF): Aeropolitics and Open Skies. Cubans really don’t like Marco Rubio. Why Hillary Clinton needs Elizabeth Warren — and don’t run, Elizabeth! Escape or die: When a cargo ship was captured by Somali pirates


Paper Trail

One of new media’s bigger coups over old seems not to be lasting: Gawker notes that only a few months after abandoning the New Yorker for the start-up Genius, music critic Sasha Frere-Jones is already backing away from his full-time commitment to “the annotation website that sticks bad jokes next to your favorite rap lyrics.”

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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