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Omnivore

Get a B.A. in International Relations in 5 minutes

Alex Prichard (Exeter): Ontological Anarchy and the Emergence of Politics. Mary L. Dudziak (Emory): Legal History as Foreign Relations History. Judith G. Kelley (Duke) and Beth A. Simmons (Harvard): The Power of Performance Indicators: Rankings, Ratings and Reactivity in International Relations. Anna Cornelia Beyer (Hull): Happiness, Equality and IR. Charlotte Epstein (Sydney): The Postcolonial Perspective: An Introduction. Can international relations be explained with a singular theory? Shagun


Paper Trail

Music & Literature No. 5 is out, with portfolios of the Finnish composer Kaija Saariaho, the Norwegian writer Stig Sæterbakken, and the Chinese writer Can Xue. Each issue of the journal, which appears in print, celebrates three under-recognized artists, featuring work by and about them. Saariaho will present a concert on November 20 at the

Syllabi

Sextet

Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Flings

For all its advantages, fiction must cede ground when it comes to capturing the contemporary idiom. A great story collection, and Justin Taylor's Flings is a great story collection, swoops through the world like a butterfly net capturing not only the way we speak but the way we think.

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?

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Jennifer Weiner BEA 2014 Official PW Video

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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