A new history of the party is too close to its subject, and misses the human drama.
In her printmaking the artist searched for a constantly elusive vision.
Why does Benn Steil’s history of Bretton Woods distort the ideas of Harry Dexter White?
The cameras no longer look at us because we’re famous; we’re famous because they look at us to death.
David Graeber’s account of Occupy Wall Street is essential—and somewhat maddening in its insistence on heightening the differences between anarchists and liberals.
Why is Léon Krier defending anew the work of the Third Reich’s master builder?
Ralph Lemon’s Come Home Charley Patton
The war between democracy and aristocracy in Janet Malcolm’s Forty-One False Starts.
Baz Luhrmann’s The Great Gatsby, Richard Linklater’s Before Midnight