Kelefa Sanneh: The Rise of Megan Moroney, Emo Cowgirl
Sheil Kapadia: NFL Draft Under Review
Nic Rowan: One Half-Tipsy Yank with a Typewriter
Ben Smith: The Group Chats That Changed America
Noah Kumin: A Russian Novel Saved My Mind
Ross Barkan: The End of Bohemia
Kevin Schmiesing: Did the Enlightenment Really Happen?
Lauren Larson: Texas’s Hottest Art Gallery Is the Buc-ee’s Bathroom
Eda Hunt: America’s Middle-Class Aesthetics
Aimee Levitt: So, You Want to Write a Cookbook?
Adrian Nguyen: Great American Psycho
David A. Cowan: Stealing ‘Abundance’
David Mikics: Our Gilded Age
D. Graham Burnett: Will the Humanities Survive Artificial Intelligence?
Manuela Lazic: 21st-Century Cinema in Review: ‘Collateral’
Benjamin Braddock: The Lonely Way Back Home
Samuel Goldman: The Meaning of Ralph Lauren Nationalism
Kat Rosenfield: America’s Baby Boom Is Doomed
Miles Doyle: The Sporting Life
Arielle Isack: Heteropessimism of the Intellect
Gerry Canavan: Tolkien Against the Grain
Charles F. McElwee: Story of His Life
Brianna Di Monda: The Damned Mob of Scribbling Women
Nicholas Clairmont: May My Daughter Know Boredom
August 3, 2023A new oral history of the musical genre follows the arc of an emo song—one that celebrates a maligned, angsty outsider triumphing over the haters and cool kids.
