“Asylum” technically means “a place of safety or refuge,” but that’s not now many psychiatric in-patients experience their time on psych wards.
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Pages You Can Dance To: A Book List
Either Martin Mull or Frank Zappa or Elvis Costello once said writing about music is as pointless as dancing about architecture. Which doesn’t account for how I’ve danced to all these books.
Searching For Mackie
Seven years ago, a young woman from Tache, British Columbia, went out for the evening and never came back. Her family won’t stop looking for her, and they deserve answers.
‘Craft Is My Belief System. My Obligation To Writing Is Religious.’
Nathan Englander talks about the “super-American world” of Orthodox Judaism, Philip Roth’s funeral, and training himself to write his new novel “kaddish.com” while daydreaming.
The 19th Century Lesbian Made for 21st Century Consumption
Jeanna Kadlec considers Anne Lister, the historical figure at the center of HBO’s Gentleman Jack, and the influence of other queer women who preceded her.
The Proving Grounds: Charley Crockett and the Story of Deep Ellum
Generations of musicians got their start busking the streets of the Deep Ellum neighborhood of Dallas, Texas. After a decade of ‘hobo-ing’ around cities like New Orleans, Paris, and New York, Charley Crockett discovered it was his turn.
Two Clocks, Running Down
In “Time Is a Thing the Body Moves Through,” T Fleischmann resists metaphor, even as they reflect on the metaphor-saturated work of Félix González-Torres.
Marmalade: A Very British Obsession
Captain Scott took jars to the Antarctic with him, and Edmund Hillary took one up Everest. Marmalade is part of the British national myth. Livvy Potts wants to know why.
Cahiers du Post-Cinéma
The movie theater was once a kind of lay church, with festivals like TIFF serving as annual religious holidays — until new houses of worship opened online.
Sam Lipsyte on ‘Mental Archery,’ the Quest for Certainty, and Where All the Money Went
“It’s difficult to say what you really think. You’re too aware of the traps, the dead ends, the cul-de-sacs of utterance: all the ways we let cliché steer us in a certain direction, force us to say not quite what we mean…”
