CHIEVING A STAFF writer position is nearly every critic’s dream. Yet not everyone who gets such a coveted role deserves it. The Pulitzer Prize–winning writer Andrea Long Chu undoubtedly does. Her criticism, which has appeared in n+1, The New Yorker, The Drift, Jewish Currents, Artforum, and nearly everywhere else important to well-read left-leaning individuals, often straddles the thin line between cruelty and viciousness. Her eviscerating and intricate pans are infamous. I tell Chu that her work is “crystalline,” a word she admires for its implications: durable and tightly constructed.
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