Guia Cortassa was born, lives, and works in Milan, Italy. After working as a Contemporary Art curator, she went back to writing. She is a contributing editor for Ondarock and her writing has appeared on Rivista Studio, Flair and the Quietus. She compulsively tweets @gcmorvern.
Over at the Los Angeles Review of Books, Casey Michael Henry considers Kendrick Lamar’s To Pimp a Butterfly a new bid to revive a “Black Postmodernism”: Not only does the album…
Nearly everything Gould ever held in his hands slipped away. He lost his glasses; he lost his teeth. “I keep losing fountain pens, change, and even manuscripts,” he wrote. “I…
Desert managed, impressively, to publish lively, intelligent writing about a very dry place, month after month. Dan Piepenbring browsed through archive.org’s huge magazine collection to discover Desert, a publication from…
Using the second person is a tricky but effective writing device, though its use is pretty uncommon. Over at the Ploughshares blog, E.V. De Cleyre offers some clever examples of writing…
I’m in my 30s and haven’t married yet, but marriage is not in my own top five questions and hasn’t been for some time. I’m much more interested in whether…
In 1978, while writing Gregory Peck’s biography, Michael Freedman had the privilege of talking on the phone with Harper Lee, resulting in possibly the only interview the author ever gave.…
While concerns over the accuracy and invasiveness of the technology are important, the primary fear I have is that the technology available today masks a form of gender and racial…
When I got older, I discovered that this sense of play wasn’t limited to the young. There were plenty of adults out there writing radically experimental books formally guided by…
Fiction-making is so much fun that many nonfiction writers prefer to make up stuff. Over at the Los Angeles Review of Books, David Freeman considers the importance of the imperceptible,…