For the New Yorker, Krithika Varagur reviews Francis Fukuyama’s Liberalism and Its Discontents, the political scientist’s defensive revisiting of the influential ideas he proposed in his 1989 essay (and later, book) “The End of History.” Varagur writes, “Liberalism could scarcely imagine a better cheerleader in this bleak landscape than Fukuyama, who has a unique skill for imbuing a sometimes ponderous ideology with a narrative thrust.”
For the latest episode of the Artforum/Bookforum video series “Artists On Writers | Writers On Artists,” Elif Batuman talks about her new novel, Either/Or, with artist Sibel Horada.
Jane Hu writes for The Atlantic about Hernan Diaz’s new novel, asking, “The challenge of writing about the shadowy system behind the ‘evil capitalist’ . . . remains. How does one even begin to capture its contortions?”
Catapult senior editor Kendall Storey is becoming the press’s editor in chief, replacing Megha Majumdar.
At The Baffler, Jack Hanson reviews Emily Hall’s debut novel, The Longcut, which consists of the digressive self-narration of a printmaker as she walks to meet a gallerist. “‘What is my work?’ becomes the question of existence,” Hanson writes, noting that Hall’s novel assumes the posture “of what critic Dustin Illingworth, among others, has called ‘anti-realism.’”
Erik Baker, an editor at The Drift, compiles a thread of stories about people who do not live in New York City that the magazine has published. Or, you can read another article about Dimes Square.