Pola Oloixarac's Dark Constellations is what the late Michael Crichton might have written if he had grown up in Argentina and fancied himself a high postmodernist.
Jamil Jan Kochai's 99 Nights in Logar is a fine novel about an Afghan-American boy returning to Afghanistan that reminds us where the publishing industry puts it money.
Nora Ikstena's autofictional history, Soviet Milk, exposes the violence of the Soviet institutionalization of motherhood as a civic duty that was incorporated into the ideological and social structure of Soviet life.
From its inception as a blogging project to its culmination into a beautiful art book, Dave Addey's Typeset in the Future is a wonderful but expensive look at typography and design in popular science-fiction films.
Niviaq Korneliussen's third novel, Last Night in Nuuk, tackles homophobia, coming out, millennial malaise, finding love, being a shit friend, and so much more.
Inuk musician/writer Tanya Tagaq’s first novel, Split Tooth, tells a magical, fucked-up story about teenage girls’ adolescence in the Arctic.
Wayétu Moore's She Would Be King is an important exploration of power, identity, and belonging at a major historical junction in African diasporic and Liberian history.
Mark Fisher’s posthumous k-punk showcases the depth of his critiques, insight he brought to the humanities, and a glimpse into where he was going with the unfinished work, Acid Communism.
Kelsey Miller's I'll Be There for You, on the production and cultural legacy of Friends, is a must-read for fans and anyone interested in understanding TV culture over the past 20 years.
Neoliberalism offers the illusion of choice. The triumph of geek culture is an illusion of triumph; it's just another way to be bought—and to like it. A critique of A.D. Jameson's I Find Your Lack of Faith Disturbing.
Hagy's new novel, Scribe, a beautiful work clearly rooted in the ethos of the Program Era, seems the very example of a return to the bourgeois novel of art for art's sake.
