In a focused and engaging Saturday Interview, Arielle Bernstein talks to essayist Karrie Higgins—the author of a 2015 Best American Essay titled “Strange Flowers”—about the generative quality of chaos within the creative…
The more narratives that approach reality "differently" get treated as "insane" or "unreal," the less readers are exposed to them, and the more "unreal" or "insane" they seem. It's like a feedback loop.
First, Brandon Hicks contemplates the strange game of pricing art in “The Forgetful Painter.” And in the Saturday Interview, Arielle Bernstein talks to illustrator Ijeoma Oluo about her new publication, Badass Feminist…
Arielle Bernstein, Rumpus Film/TV/Media and Saturday Editor, writes about Rihanna, bitches, and blood over at Salon: Women are raised on images of toxic masculinity just like the men around us are.…
First, Brandon Hicks finds the essence of military conflict in his comic, “War.” Then, Arielle Bernstein talks to self-proclaimed “anti-racist feminist” Tamara Winfrey-Harris in the Saturday Interview. Winfrey-Harris’s blog, What Tami…
First, Julie Marie Wade points to Tod Marshall’s skillful use of call and response in his new poetry collection, Bugle. The theme of mortality punctuates this “fierce” and “stunning” book.…
Jacob Wren discusses his newest novel, Polyamorous Love Song, the relationship between art and ethics, and whether Kanye West is a force for good in the art and music world.
First, say hello to our new Saturday media editor, Arielle Bernstein! Then, in “All The World’s A Stage,” Grant Snider neatly illustrates our inner performer. Poet Kent Shaw marvels at…
Obvious Child is sweetness, swaddled in a dirty joke. It’s the delicate pastel world of Wes Anderson, where characters are imperfect but want to get better. Where every asshole, in the end, has a really big heart.