Frazier Tharpe: 'The Rehearsal' Is the TV Event of the Decade
Jia Tolentino: My Brain Finally Broke
Jonah Howell: On Matthew Gasda's 'Sleepers'
Madeline Fry Schultz: How Do You Heal From Porn?
Ross Barkan: The Future of the American Novel
Valerie Stivers: Rage Against the Mom Machine
William A. Finnegan: Enshittification
Naomi Kanakia: The Trauma Plot Has Lost Faith in Itself
Bathsheba Demuth: The Teeming Earth
Nicholas Russell: The Popular Alternative
William Cohan: Rumble in Hyannis: The Kennedy Feud Gets Serious
Barbara Broccoli: Ireland’s Literary Femme Fatale
Aaron Lake Smith: Review: “The Sleepers” by Matthew Gasda
Hannah Katznelson: Methodical Banality
Kazuo Ishiguro: Kazuo Ishiguro Reflects on Never Let Me Go, 20 Years Later
William E. Cain: Close Reading Shakespeare: Othello Speaks
Thane Rosenbaum: The Age of American Nihilism
Maggie Miller: The South's Public-Education Revival
Kerry Soropoulos: Tech Founders Bet on New York
Trudy Haywood Saunders: Randy Travis’s Triumphant Comeback
Mary Townsend: The Jester's Power
Kara Kennedy: The Strategic Ascent of Kai Trump
Morgan Leigh Davies: Julie Keeps Quiet
Ross Barkan: The Social Stock Market
October 9, 2024Michel Houellebecq — arguably the most important French writer of the past quarter-century — was perched on the seat of his chair like a bird. We were sitting in his dim...
