Category: Audio
Edward W. Said: An Unpublished Letter to the NY Ti...
Posted by Wouter Capitain | May 29, 2024
AI: A view from the corporate trenches
Posted by Ira Schild | Apr 5, 2024
On the Concept of Corrosive Irony with Continual R...
Posted by Matt Sandler | Feb 11, 2024
Anatomizing the Fall
Posted by Bonnie Honig | Dec 30, 2023
Breakup Poems
LatestPresentation Copy
by Max Cavitch | Jan 23, 2024 | Breakup Poems
Hey, before you leave, I was wondering if you’d sign this copy of your book. It’s the one I...
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What I Can’t Do
by Jamey Hecht | Feb 7, 2021 | Breakup Poems
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Nothing Sadder Than Cold Grits
by Natalie Frazier | Dec 16, 2020 | Breakup Poems
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a horticultural goodbye
by Inge Lütt | Dec 1, 2020 | Breakup Poems
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What It’s Like
by Ben Libman | Nov 27, 2020 | Breakup Poems, Poem
Latest Features
Presentation Copy
by Max Cavitch | Jan 23, 2024 | Breakup Poems
Hey, before you leave, I was wondering if you’d sign this copy of your book. It’s the one I...
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My Dive
by Bruce Robbins | Nov 18, 2022 | First Person
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The Girl Who Made It Snow in Singapore
by Masturah Alatas | Aug 12, 2022 | Features, Fiction
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Who Is My Neighbor?
by Melvin Brinkley | Jun 9, 2021 | Commentary, First Person
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Opt Out
by Bruce Robbins | May 26, 2021 | Announcements
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Water Wars Part 2
by Bruce Robbins | Mar 25, 2021 | Podcasts, Waterways
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Water Wars: a Podcast with Tom Kruse
by Bruce Robbins | Mar 24, 2021 | Podcasts, Waterways
Reviews and Commentary
Reflections on Greatness
by Bruce Robbins | Jun 14, 2024 | Commentary
One thing people mean when they call something “great” is that it may not be nice. That great and...
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Edward W. Said: An Unpublished Letter to the NY Times, 1967
by Wouter Capitain | May 29, 2024 | Commentary
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AI: A view from the corporate trenches
by Ira Schild | Apr 5, 2024 | Commentary
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The AI Alibi
by Nikita Shepard | Mar 30, 2024 | Commentary
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Anatomizing the Fall
by Bonnie Honig | Dec 30, 2023 | Commentary
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The Hard Hat Riot of May 1970: A Slice of Non-Memoir
by Bruce Robbins | Nov 30, 2023 | Commentary
What's New
From the River to the Sea
ANTHEM OF DEMOCRATIC ECSTASY
Reflections on Greatness
Edward W. Said: An Unpublished Letter to...
MODEST ADVICE FOR UNIVERSITY ADMINISTRAT...
AI: A view from the corporate trenches
The AI Alibi
On the Concept of Corrosive Irony with C...
Presentation Copy
Anatomizing the Fall
The Radio DJ is a Storyteller: Sonic Rep...
Return
The Hard Hat Riot of May 1970: A Slice o...
Melissa Broder in Death Valley
Something or Nothing at All
“Love Is Blind” Beyond the E...
Julius Nyerere Translates “Julius ...
To Be Real! “Barbie” as a ...
THE MAR-A-LAGO AIR
What Genre is “Succession”?
News from the Staten Island Ferry
Trump’s “Town Hall” A Counternarrative...
On “BreadTube:” Can YouTube Video Essays...
Three Ukraine War Poems
Please Answer Now
The Good Samaritan
McCarthys Rule!
Darwin 348
That Day
My Dive
Despite Everything
In Solidarity with Urooj Rahman and Coli...
APOLOGIA PRO VITA SUA
BATTLE HYMN OF THE REPUBLICANS
POLITICS FOR A JOYCEAN CENTENNIAL
The Girl Who Made It Snow in Singapore
TRIUMPH OF THE FOSSILS
Ian Watt Memorizes “The Divine Com...
Paul Celan and Ukraine
Clouds Over the Cone
Road Umbrage
Tombstone to Tutti Frutti: Where’s Your ...
Throw a Tampon at Your Dad: “The W...
Lauren Greenfield: Between Critique and ...
Maid in America: Whiteness as Property
Drones
east berlin, in retrospect
A Christmas Prayer
Trump’s Chumps
Epigraphy
To Nicole, my Cat
Why Were We in Afghanistan? (Don’t Demon...
After Post-Colonialism and Globalization...
Stanley Aronowitz and Cultural Studies
Stuart Hall and Marxism
SYRIZA in Power: Precepts of Governing a...
Who Is My Neighbor?
Congratulations
Disordered Attachments: On Literary Crit...
Opt Out
The Messenger from Heaven
Water, the driving force of Nature, and ...
Promising Young Country (warning: spoile...
After
Fire Weather
Trust Me: A Visit from Bob Woodward
Deaths of Documentary
Life on the Delaware; or, Comings and Go...
New Day for Podemos?
Water Wars Part 2
Water Wars: a Podcast with Tom Kruse
Think from the Viewpoint of Water
Why a UBI?
Consciousness
Walks on the Boundary Line (Waterways)
Tunnel (Waterways)
River (Waterways)
Where You Still Need a Dashboard Radio
Old Veteran Cypress (Waterways)
The River Owns Itself (Waterways)
La Veille de Noël
Sensible Woman Speaks
What I Can’t Do
A Thin Dark String
NOAM CHOMSKY SAYS, FIGHT FOR THE REVOLUT...
Ending with O
Hook-Up Poems: An Invitation to Poets
Hegel, Recognition, and “Grievance...
The 60’s as Founding: On David Bro...
Weimar Moment?
The Time It Will Take: Building Left Soc...
Put Your Yard Signs Out Again
Under Conditions Not of Our Choosing
Exhaustion
Nothing Sadder Than Cold Grits
Ain’t Called Jacobin for Nothin...
a horticultural goodbye
This Prisoner
What It’s Like
Two Poems from Breakup Canyon
Gallery
Driving By
Vicious
police story: a fragment
divorce done right
Trending Whiteness: Countrypop Aesthetic...
A Self-Described Geezer Reflects on Cons...
Exquisite Corpse
Tuwei cyber culture in China: the rural ...
Waiting for John Kelly?
Have You Ever Loved a Black Man?
The Autumn of Our Discontent
News from St. Louis
Aesthetics in the Discipline of Literary...
RUSSIAN BOUNTY
Dispatch from the NYC Protests
George Floyd’s Funeral Train
Social Democracy in One Country? Spain’s...
The Talking Dead: Jia Tolentino and the ...
America Apologizes
Plague Diary, May 3
STAYING ALIVE IN PUERTO RICO
In Gratitude
If Coffee Shop Could Open
Quarantine Etymology
A HITHERTO UNKNOWN DRAFT OF The Waste La...
Spitballing in a Pandemic
Plague Diaries, April 11
The Locked Down Watching the Locked Up
Escape from New Jersey
Plague Chronicle, continued
Plague Cartoons, continued
Miraculous Discovery
Donald Trump, Wartime President
Pages from a COVID Diary
Taking the Last Flight Out in Times of L...
In the streets a serenade
Keeping Ourselves Honest, Treating Frien...
What Was Decolonization? A Review of Ado...
Staying Beside; Moving Sideways: Hans De...
The Ocean Doesn’t Care
Who Would You Be?
Breathing Room: Dingell v Trump
Telling “the widest story”: A Review of ...
Killing Times: Theory and the Abolition ...
Woodstock, Altamont, and the Sixties
POETIC RESISTANCES
NO DANCING IN THE STREETS: Spain’s...
Traveling Underpants: On May Hawas’...
Capitalist Realism, Ten Years On
OPEN BORDERS?
Afro-Pessimism and the (Un)Logic of Anti...
Explaining Evangelicals’ Support for Tru...
“Unbelievable”– Scenes...
GOING AFTER THEORY
Funny Careers: “A Star Is BornR...
Something Darker than Farce: the Spanish...
Jeffrey Epstein and the Death Rattle of ...
HORROR AND DIAGNOSIS: ON ARI ASTER
ARE WE BEING CLASSY YET?
MUELLER, THEY WROTE
After Wounded Knee
Why Pay Attention to the So-Called Scien...
“Another Story in The Overstory: One of ...
Thackeray Meets Dark Matter:The Making o...
Parking Lot in the Memorial Forest by Di...
Why is this Night Different? The Problem...
“The Birds, and the Stars, and the...
Witches Who Work: Female Patriarchal Car...
Trump’s Triangle
Theatre Feast and Theatre Famine: On ...
Winternet is Coming
The Real Problem the SNC Lavalin Affair ...
The Zionist Problem: Divided Loyalties i...
Bob Mould — Sunshine Rock
A New Story by Harry Whomersley
John Hay on Bob Dylan: Untangling the Tr...
Film Review: If Beale Street Could Talk
Film Review: Vice
Interesting Times
Border Walls and Alien Homelands: Reflec...
Entering Sadr City on Report of Troops i...
On Atonement
Hatred Blanks and Rusty Blinks by Adrien...
Steve Mason — About the Light
On Writing Good Sentences
Eduardo Pavez Looks Askance at “Ro...
David Brooks, Meet Josiah Royce, Part I
Ben Streeter Sees the Neoliberalism in H...
Film Review: Roma
Smells Like Teen Spirit
The Dogs — Before Brutality
Electoral Architecture
Red Rum Club — Matador
How Fascism Works: A Reply To Peter Ludl...
Criticism and Theory: 22 Theses
My Neighbors
Film Review: The Old Man and the Gun
Louis CK is Still a Jackass
Film Review: The Ballad of Buster Scrugg...
It’s [Not] a Wonderful Life: How C...
Eugene to Berkeley and The Last Bus on t...
Film Review: Mary, Queen of Scots
The Date Rape Song
Film Review: The Favourite
Mermaids Want Shoes
The Median, Triggered, and First Day by ...
The Barn and Backseat by Larry D. Thacke...
Film Review: The Wife
Makaya McCraven — Universal Beings
St. Mawr
American Pogrom
Night Drive by Brian Barnett
Film Review: Colette
Jews and Whiteness
Film Review: The Sisters Brothers
Three Poems by Alyssa Harmon
Lost and Found by Yi-Wen Huang
The Good Fight
Lynn White’s Roundabout and ItR...
Renovating the House (and Senate…)
The Peelers: Cúnla
Alphabet of the Tracks by Charles Bernst...
Fun World, View From Above, A Dissipatin...
Return of “Car Poems” &...
The Victory of the Village Voice
When the Predator is a Lady
The Germans Come Back to Psari
No Substitute for Professional Boundarie...
Art of #MeToo: Cara Cole’s “...
The Kant Thing: McCann’s Answer
Palestine and “Progressive” Politics
Fortuna in Finland
Giacometti at the Guggenheim
Form and Class: a response to Sean McCan...
Car Poems for Robert Kroetsch – Pa...
“So you love her hair…”...
Car Poems for Robert Kroetsch – Pa...
Car Poems for Robert Kroetsch – Pa...
Car Poems for Robert Kroetsch – Pa...
Car Poems for Robert Kroetsch – Pa...
Black Thought : Streams of Thought, Vol....
The Return of The The
Wend and Calque by Lea Graham
Merci Beaucoup and Thank You
Wooden Shjips — V.
Doug Ford: Ontario’s Populist
Ray Lamontagne — Part of the Light
Dr. Peterson’s Patent Snake Oil: N...
On Burning by Sharon Dornberg-Lee
Confessions of a Race Traitor
Literary Academia: Simon During Reflects...
Literary Academia: Simon During Reflects...
Matthew Barlow wins prestigious book pri...
The Passion of Philip Roth
Glendette by Brent Raycroft
Sestina On Doing One Hundred And Forty O...
Venetian Snares/Daniel Lanois: Venetian ...
Czarface & MF DOOM: Czarface Meets ...
Custom Car Parade by Laura Winton
Speedy Ortiz: Twerp Verse
A Place to Bury Strangers: Pinned (Brain...
Jean Grae/Quelle Chris: Everything’...
Reports from the Picket Line: A Rousing ...
Reports from the Picket Line: Widespread...
Reports from the Picket Line: Columbia G...
City Sketches: East Coast/West Coast
Beware the Beast by James Livingston
Reports from the Picket Line: Columbia G...
Trumpism at Columbia
First Person: An Oklahoma Teacher Speaks...
Red Rambler by Joel Long
Julian Calendar: Parallel Collage
From the Picket Line: A Kentucky Teacher...
Teacher Protests Spread To Kentucky
The Breeders: All Nerve
Julian Calendar: Not Your Standard Rock&...
Towards a Politics of Stupidity
Rock’n’Roll Don’t Pay ...
Meteorite from Saturn and Blind Spot by ...
“Entirely Consensual”? Storm...
From the Vaults: The Singles Soundtrack
A Hitchhiker’s Guide to Border Crossings...
Ride: Tomorrow’s Shores
The Day After Parkland: A Student Reflec...
The Young Karl Marx
Camp Cope: How to Socialize & Make ...
The Trouble with Money
The Sheepdogs: Changing Colours
Fake Architecture News?
Covering Bauhaus
Thinking About Corporate Activism
Narrating Hayden White
Eric Bolander: The Wind
Sunns: Felt
Eric Bolander: The Troubadour of Lexingt...
A Guide to the Many Flags Visible in Bar...
DEFEAT DEVICES by Drew Milne
Superchunk: What a Time to be Alive
“The Concept of Enlightenment” as Parano...
Unconcealed Weapons: A Modest Proposal
Three Poems by Marilyn Cavicchia
Sponging the City
Creative Writing and Toxic Masculinity: ...
“This is Not Normal:” Two Decades After ...
We Need to Talk: Racism and Canadian ...
From the Vaults: Manic Street Preachers:...
Evangelicals and Jerusalem
Franz Ferdinand: Always Ascending
The Red Car by David Cull
Cadence Weapon: Cadence Weapon
The Camp as Archive
Fuck Football
Tune-Yards: I can feel you creep into my...
The History of the Gerrymander
Jewish Tourism, or, I never cared very m...
Jewish Tourism, or, I never cared very m...
Life in Dallas by Helen Gutowski
The Halifax Explosions?
Black Rebel Motorcycle Club: Wrong Creat...
Jewish Tourism, or, I never cared very m...
Jewish Tourism, or, I never cared very m...
The (Sort of) End of Chief Wahoo
Glen Hansard: Between Two Shores
Jewish Tourism, or, I never cared very m...
Notes from a Recent Construction Site Vi...
Framing Poems by Sacha Archer
Meat Beat Manifesto: Impossible Star
Patriarchy’s Latest Trick: Whose I...
The Problems with Football and Hockey
On Translation
Israel cannot cure itself
DeSoto Love by Kim Goldberg
My Cars by Charles Bernstein
A Tale of Too Many Cities: The Trial of ...
Company, and the journey by Susan Rudy
In the Idiom: All Cars & Trucks (de...
Scott Frank’s “Godless”
DRIVING by Bird Williams
The Legend of George Orwell
Trumped Up Violence
Auerbach and Me
The Importance of the “Steady Stat...
A place for unfinished things and Forty-...
Nothing Says Cluelessness Quite Like Jok...
What is Trumpism?
Car Poems: A Collective Vehicle
Noel Gallagher’s High Flying Birds...
Reluctant Heroes
Belonging on the Left: An Appreciation o...
Belonging on the Left: An Appreciation o...
Art Bergmann: Remember Her Name
The Moral Conundrum of Roy Moore
Black Sabbath: The End (Live)
Henri Cartier-Bresson: India in Full Fra...
Robert Plant: Carry Fire
Listen to Veterans: the Student, Citizen...
Resurrecting Les Négresses Vertes
Leonard Cohen’s Church of Montreal
Michael Head & The Red Elastic Band...
An Incomplete History of Protest at the ...
Quebec Shows its Colors
Wolf Parade: Cry, Cry, Cry
Tin Star: Revenge, Renunciation and Desi...
Whose “Free Speech?” A Ruckus at C...
J. Roddy Walston & The Business: De...
Days of Future Past in Blade Runner 2049
Tied to the Mast
It’s the Chinese, Stupid! … and Other My...
Quebec’s Bill 62 and the Age of Un...
Staging the Civil War
Black Grape: Pop Voodoo
Bateson in Yellowstone
On Photography and Filtering
Stars: There Is No Love in Fluorescent L...
First Person: For the Love of a Challeng...
What Happened, a Review
We are Live!
Yes Spike Lee, I’d Like My Money Back
The Vietnam War: Ken Burns’ ‘...
Disappearing Act: Empúries Visitor Recep...
Miles to Go by Moral Hazard
What’s New
- From the River to the Sea
- ANTHEM OF DEMOCRATIC ECSTASY
- Reflections on Greatness
- Edward W. Said: An Unpublished Letter to the NY Times, 1967
- MODEST ADVICE FOR UNIVERSITY ADMINISTRATORS
- AI: A view from the corporate trenches
- The AI Alibi
- On the Concept of Corrosive Irony with Continual Reference to Edward Said: In Belated Memoriam, Morningside Heights, 2024