Partly Truth, Partly Fiction: 2019 Cinema Revisits the Manson Family
Chloe LizotteChloe Lizotte considers the Manson depictions from the summer of 2019, asking what contradictions of representation and historical memory they share.
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Chloe Lizotte considers the Manson depictions from the summer of 2019, asking what contradictions of representation and historical memory they share.
The closure of a Guatemalan anti-corruption office makes their government look bad, and the United States even worse.
Joseph Giovannini explores the newly redesigned MoMA in New York City.
Fran Bigman discusses Brit Bennett’s “The Mothers” and the stories we tell about abortion.
Annie McGreevy on “Hustlers,” Edward P. Jones’s “The Known World,” a failed TV project, and the hustles that sustain us under capitalism.
Jay Neugeboren recounts his time as an American antiwar activist in the 1960s and contemplates his current standing as an activist in modern-day America.
Ron Rosenbaum on what the media can learn from the prescient "Munich Post."
In 2016 or early 2017, Paul Manafort’s 32-year-old daughter’s cell phone was hacked. What do the texts reveal, and why aren't we talking about them?
Jorge Cotte explores the queasy, wobbly, ethically ambiguous experience of being close to the billionaire children of HBO's "Succession."
The rebuilding of destroyed mosques is Bosnia is one part of a long project of genocide prevention.
Joe Osmundson lyrically deploys circuit metaphors to describe how new anti-virals are re-wiring the gay dance circuit in post-AIDS New York.
What does the central role of literary disinheritance in Beckett's work teach us about those who voted for Brexit?
LARB presents the October installment of “Real Life Rock Top 10,” a monthly column by cultural critic Greil Marcus.
Constance Valis Hill reviews Bat-Sheva Guez’s hypnotic new dance film.
A conversation between poets John James and Christopher Kondrich.
Eunsong Kim considers Dread Scott’s "Lockdown" (2000–2004) and Gaye Chan’s "Historic Waikiki" (2001).
Megan Ward looks at the 2018 film “Museo,” starring Gael García Bernal, and contemporary debates around museum repatriation and cultural memory.