Julianna Ress: Respect the Craft, Tame the Hunt
Vince Aletti: How American Photography Came Into Its Own
Pedro L. Gonzalez: Will Conservatives Make Great Art Again?
Madison Vain: Bono Has Another Story to Tell
Jason Parham: Welcome to TV’s MAGA Era
John D. Sailer: The Missing Link in Higher Ed Reform
Ben Schwartz: The Daily Wire’s Doomed Quest for Pop-Culture Relevance
Sarah Moss: There Is No Contemporary Fiction
Garrick Davis: The NEA Deserves This
Kiese Laymon: Did the Pandemic Ever End?
Sam Hockley-Smith: A Rare Breed of Listener
Jacob Howland: Peter Thiel’s Visions of Apocalypse
Aaron M. Renn: The Data Center Dilemma
Mark G. Brennan: How Wealth Co-opted Conservative Politics
Julian Adorney: The Battle for the Marketplace of Ideas
Seerat Sohi: 11 Observations on the WNBA Season’s First 11 Days
Joshua Rothman: Two Paths for A.I.
Farahn Morgan: Scenes from the Golden State: Highway Signs
Karl Ove Knausgaard: The Reenchanted World
Maggie Phillips: The Spiritual Heart of 'Sinners'
Sheila Heti: The Spirit in the Blue Light
Daniel N. Gullotta: Faith Makes a Quiet Comeback
Martin Dolan: On Elisa Albert’s “The Snarling Girl”
Santiago Ramos: What Will We Do With All That Free Time?
November 27, 2019hen walls are built through a city, strengthened with reinforced concrete and steel, separated by a strip of land where you can be shot and left to die, you don’t expect things...
