Category: Podcasts
The Knock Knock Game
Posted by Bonnie Honig | Aug 19, 2025
The Samourai
Posted by Franco Moretti | Jun 16, 2025
Coming of Race in the Classroom
Posted by Stone Mims | Feb 4, 2025
Reflections on Greatness
Posted by Bruce Robbins | Jun 14, 2024
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 Doby Jamey Hecht | Feb 7, 2021 | Breakup Poems 
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			  Nothing Sadder Than Cold Gritsby Natalie Frazier | Dec 16, 2020 | Breakup Poems 
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			  a horticultural goodbyeby Inge Lütt | Dec 1, 2020 | Breakup Poems 
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			  What It’s Likeby Ben Libman | Nov 27, 2020 | Breakup Poems, Poem 
Latest Features
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			  More Lifeby Frederick Sperounis | Sep 1, 2025 | First Person 
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			  Presentation Copyby Max Cavitch | Jan 23, 2024 | Breakup Poems 
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			  My Diveby Bruce Robbins | Nov 18, 2022 | First Person 
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			  The Girl Who Made It Snow in Singaporeby 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 Outby Bruce Robbins | May 26, 2021 | Announcements 
Reviews and Commentary
The Knock Knock Game
by Bonnie Honig | Aug 19, 2025 | Film, Reviews
B. Honig These days, I, like many others, write letters to protest the U.S.-supported genocide in...
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			  The Samouraiby Franco Moretti | Jun 16, 2025 | Commentary 
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			  Coming of Race in the Classroomby Stone Mims | Feb 4, 2025 | Commentary 
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			  Reflections on Greatnessby Bruce Robbins | Jun 14, 2024 | Commentary 
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			  Edward W. Said: An Unpublished Letter to the NY Times, 1967by Wouter Capitain | May 29, 2024 | Commentary 
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			  AI: A view from the corporate trenchesby Ira Schild | Apr 5, 2024 | Commentary 
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			  The AI Alibiby Nikita Shepard | Mar 30, 2024 | Commentary 
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What's New
 
						In Waves Days Wear Against the Infrastru...
 
						S.O.L.
 
						More Life
 
						The Knock Knock Game
 
						A Sick Joke
 
						The Samourai
 
						Coming of Race in the Classroom
 
						I’ve Got a Little List
 
						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 Capra’s Film Explains Trump’s Election](http://politicsslashletters.org/wp-content/uploads/2018/12/its-a-wonderful-life1-440x264.jpg) 
						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...
 
						 
						 
			