surveillance
-
Digital Space Is Real Space: Talking with A.E. Osworth
A.E. Osworth discusses their debut novel, WE ARE WATCHING ELIZA BRIGHT.
-
Nodding to the Unknowable: A Conversation with Theodore Wheeler
Theodore Wheeler discusses his new novel, IN OUR OTHER LIVES.
-
Both Past and Present: A Conversation with Marcelo Hernandez Castillo
Poet Marcelo Hernandez Castillo discusses his debut memoir, CHILDREN OF THE LAND.
-
Moments within Days within Seasons: Talking with Alicia Mountain
Alicia Mountain discusses her debut collection, High Ground Coward, the surveillance state, and queer representation in the poetry world.
-
The Life of the Mind: A Conversation with Elizabeth Scanlon
Elizabeth Scanlon discusses her debut full-length collection, Lonesome Gnosis, brains and trains, and poetry as prayer.
-
The Rumpus Interview with Kea Wilson
Kea Wilson discusses her debut novel We Eat Our Own, the influence of film on her work, and what she’s learned from working as a bookseller.
-
Language Lesson and Surveillance by Ashaki M. Jackson
Kenji Liu reviews Ashaki M. Jackson’s Language Lesson and Surveillance today in Rumpus Poetry.
-
The Eden of the Surveillance State
Participation in our own surveillance was the price of entry into heaven. In the Winter 2016 issue of Lapham’s Quarterly, Amanda Power writes on the history (real and mythological) of the Western surveillance state, whose roots can be found in…
-
The Circle Is Watching
In a world where boundaries between private and public are already blurring, Tim and Nicolaas wanted to find out what would happen if those boundaries disappeared altogether.
-
The FBI’s James Baldwin Obsession
Writing for Publishers Weekly, William J. Maxwell examines the 1,884-page FBI file on James Baldwin—the longest on record—as part of his effort to obtain surveillance information on African American authors through the Freedom of Information Act. Along with reports on…
-
Good Writing and Bad Surveillance
The idea of “good writing” is shaped by social forces—that are in turn shaped by economic and historical forces—and our own identity privileges and privileges as editors (if we are editors). Determining what is good or bad is an aesthetic…
