American protest music

From Longreads, Tom Maxwell on a history of American protest music. From Vox, the history of American protest music, from “Yankee Doodle” to Kendrick Lamar: Bridgett Henwood on how protest music evolved from Civil War refrains to viral Trump videos. Flight of the punk-pecking carnage vultures: They’re already commemorating punk under Trump. Todd Rundgren warns Trump voters away from his shows: “You will likely be offended”. Rachel Kraus on how music reveals the pitfalls and possibilities of

Paper Trail

In a Twitter thread, A.N. Devers looks at the erasure of former Paris Review editor Brigid Hughes from the history of the magazine. Hughes took over after founder George Plimpton died in 2003, and was let go in 2004. Devers points to New York Times articles about the magazine over the years—including a 2011 profile


"We Are Revolution": Introducing Asia's Proletarian Lit

Matt TurnerDuring the last election cycle, the American working class got a lot of airplay. Donald Trump’s rhetoric was a throwback to a different era of politics and a different economy. Talk of American workers

Daily Review

Red Clocks

I’ve heard it argued—and I agree—that fiction that builds a universe whose rules depart from our own allows for the contemplation of ethical dilemmas that cannot be addressed in or by the world as we know it. This kind of fiction—what my toddler might call “same but


Tony Tulathimutte and Malcolm Harris

I met author Tony Tulathimutte at a reading in Manhattan where he asked the audience to vote on which section of his novel Private Citizens to read from: the one on writer’s workshops or the one on pornography. Porn won, and Tony delivered a complex, funny, and disturbing passage. Later, when I saw his blurb recommending Malcolm Harris’s new study, Kids These Days: Human Capital and the Making of Millennials, I read the book and was impressed by its sweeping socio-economic critique.


Bookforum: “False Starts”


A Broken Story: Jenny Erpenbeck's Refugee Novel

John Domini

Overseas, Jenny Erpenbeck’s latest novel has carried her to fresh levels of acclaim. She’s won not only the Thomas Mann Prize, in her native Germany, but also Italy’s Strega Europeo, something of a Booker for the Continent. Now the book is out in this country, under the title Go, Went, Gone, and though Erpenbeck’s four previous have won critical esteem—the New York Review of Books deemed her last novel “ferocious as well as virtuosic”—here,