In our morning reading: new writing from Zadie Smith, an interview with xTx, the legacy of Afrika Bambaataa, Jim Ruland on Tom McCarthy’s latest, and more.
Afternoon Bites: Zadie Smith on Key and Peele, Sufjan Stevens Interviewed, New Cesar Aira Fiction, Natalie Eilbert, and More
In our afternoon reading: Zadie Smith on Keegan-Michael Key and Jordan Peele; thoughts on books by Natalie Eilbert, Andrew Worthington, and Diane Cook; new Cesar Aira fiction; a Sufjan Stevens interview; and more.
Morning Bites: New Megan Stielstra Writing, Junot Diaz, Nick Jaina’s Latest, New Lightning Bolt, and More
In our Friday morning reading: new writing from Megan Stielstra, news of a new Lightning Bolt album, process notes from Margaret Atwood and Zadie Smith, and more.
Afternoon Bites: Revisiting “Scary Stories to Tell in the Dark,” Exquisite Corpse Fiction, Hemingway(s) in Cuba, Atwood on Le Guin, and More
Revisiting Scary Stories to Tell in the Dark, Zadie Smith and Elif Batuman (among many others) contributed to an exquisite corpse short story, thoughts on Aphex Twin, and more.
Afternoon Bites: Zadie Smith on Manhattan, Dan Harmon, Lars Iyer’s Playlist, Eimear McBride, “Small Town” Debuts, and More
New writing from Zadie Smith, Eimear McBride on Agota Kristof, Jordan Ginsberg on Dan Harmon, thoughts on EMA’s zine, a playlist from Lars Iyer, and more.
Afternoon Bites: Zadie Smith on J.G. Ballard, William T. Vollmann Interviewed, Punk Drummers, Craig Davidson’s Latest, and More
Zadie Smith discusses J.G. Ballard, an excerpt from Wendy C. Ortiz’s memoir, an interview with William T. Vollmann, book recommendations from Emily Gould, and more.
Afternoon Bites: Zadie Smith, A Leslie Jamison Essay, New Matt Bell Fiction, Damien Barr’s Playlist, and More
New fiction from Zadie Smith and Matt Bell, an essay from Leslie Jamison, revisiting American Psycho, talking with Adam Wilson, and more.
The Reading Life: But Most People Are The Same
My dad once pointed out an inconsequential part of Charade, the Stanley Donen film. It’s a piece of interstitial dialogue between two characters we never see. George Kennedy, with a hook for a hand, has ransacked Audrey Hepburn’s Parisian hotel room, and Cary Grant goes out the window to find him. Grant passes a neighboring room’s window, and a woman screams.