The Journey Motif in ‘The Half-Life of Guilt’ Is No Guilt Trip
There is no guilty pleasure in reading Lynn Stegner’s The Half-Life of Guilt. There is only pleasure.
There is no guilty pleasure in reading Lynn Stegner’s The Half-Life of Guilt. There is only pleasure.
This bio about Moby Grape’s Skip Spence dissects and casts a glowing light on his work as a composer of some of the most influential music of San Francisco’s psychedelic scene.
Masterfully layered and confidently executed, Walter Salles’ I’m Still Here swivels between intimate family drama and sweeping political thriller in an homage to fearless women.
Award-winning speculative fiction writer Naomi Novik’s short stories are collected in Buried Deep, revealing the range of her fantastical feminist worlds.
René Laloux’s conformity-challenging animated sci-fi The Time Masters resonates with Hayao Miyazaki films and Jack Vance novels.
Unlike how her subject’s music can be, Irene Taylor’s biography I Am: Céline Dion is not a mournful drama. That doesn’t mean it’s easy.
Thriller short film The White Rabbit ensnares viewers with a joke, a nightmare, and an illusion in a sly interplay that evokes Hitchcock’s Rear Window.
While navigating many odd circumstances, Lindsey Drager’s The Avian Hourglass provides a continuous stream of consciousness; scientific, literary, and philosophical.
From marketing manipulation to all-out psychological warfare, Stories Are Weapons clarifies how our world – and worldview – is seldom our own.
In adapting the alternative history The Underground Railroad, Barry Jenkins and his crew made cinema – a medium with origins in white supremacy – work for them.
Riot Grrrl’s activism and grass-roots activity showed the movement was more concerned with breaking the rules and conventions than breaking through in punk.
With its deft layering of words, its samples, and how it articulates sound, Questlove’s Hip-Hop Is History is like De La Soul’s excellent album 3 Feet High and Rising.