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1 week ago | 
buff.ly | Megan Cummins
What unites Jordan Peele’s Us, Bong Joon Ho’s Parasite, R. F. Kuang’s Yellowface, Margaret Atwood’s The Handmaid’s Tale (remade into a Hulu series), and the most recently viral Severance? We might call this a new genre: Labor-as-Horror, given rise, perhaps, by how much “labor” has been in the headlines.
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2 weeks ago | 
publicbooks.org | Megan Cummins
Our partner podcast Novel Dialogue invites a novelist and a literary critic to talk about novels from every angle: how we read them, write them, publish them, and remember them. This season’s signature question is: If you could spend a year anywhere, where, when, and how would you spend it? Álvaro Enrigue and critic Maia Gil’Adí begin their conversation considering translation as a living process, one that is internal to the novel form.
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2 weeks ago | 
buff.ly | Megan Cummins
Our partner podcast Novel Dialogue invites a novelist and a literary critic to talk about novels from every angle: how we read them, write them, publish them, and remember them. This season’s signature question is: If you could spend a year anywhere, where, when, and how would you spend it? Álvaro Enrigue and critic Maia Gil’Adí begin their conversation considering translation as a living process, one that is internal to the novel form.
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3 weeks ago | 
publicbooks.org | Megan Cummins
In the new episode of Writing Latinos, we talk with Jorell Meléndez-Badillo about his most recent book, Puerto Rico: A National History—out next month in paperback from Princeton University Press. Meléndez-Badillo offers a sweeping history of the island since Spanish colonization. Most provocatively, he chronicles a long tradition of thinking about Puerto Rico as an independent nation, even though it has been a territorial possession for the better part of five hundred years.
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1 month ago | 
publicbooks.org | Megan Cummins
Our partner podcast Novel Dialogue invites a novelist and a literary critic to talk about novels from every angle: how we read them, write them, publish them, and remember them. This season’s signature question is: If you could spend a year anywhere, where, when, and how would you spend it?
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1 month ago | 
publicbooks.org | Megan Cummins
Lies can serve a number of functions. People lie to deflect, to avoid embarrassment or evade punishment by creating doubt … [and they] hope that the lie will be convincing. … These lies can be annoying or amusing, but they are surmountable. They collapse in the face of facts. … The Trumpian lie is different. It is the power lie, or the bully lie.
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1 month ago | 
publicbooks.org | Megan Cummins
“What is a university and who is it for?”This was the question to which this essay was supposed to respond. It’s a question I turn over and over again in my mind, walking myself in circles. Federal agents have detained, kidnapped, and disappeared multiple graduate students for their participation in peaceful protest against Israeli genocide. Anti-Zionist speech is an act of domestic terror.
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1 month ago | 
publicbooks.org | Megan Cummins
Early in Brady Corbet’s The Brutalist, architect László Toth is shown building a desk accompanied by a nondiegetic recording of the first time David Ben-Gurion read aloud, in Hebrew, the Israeli Declaration of Independence. On the surface, what we see doesn’t relate to what we hear; we have just seen László arrive in America, and while we have heard the character speak in English, Hungarian, and Yiddish, it is unclear whether he understands Hebrew.
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1 month ago | 
publicbooks.org | Megan Cummins
In this special episode of Writing Latinos, with the writer Justin Torres, we tried something new. Torres reads a short vignette on air—“Youth: The Palisades as a Backdrop” by the Afro-Puerto Rican writer, Jesús Colón—and then we discuss it together. We had so much to talk about! Historical references. Readings of imagery. His message about gender, class, and race. “Youth” in the context of Colón’s other writings. The vignette as a powerfully evocative genre that Torres uses in his own writing.
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1 month ago | 
publicbooks.org | Megan Cummins
It has been almost 27 years since the murder of Matthew Shepard, a gay 21-year-old college student in Laramie, Wyoming, who was kidnapped, pistol whipped, robbed, set on fire, and then left to die tied to a roadside fence. I remember thinking how lucky I felt, back in 1998, to be living far away from that rural road in Wyoming. Even then, though, I must have recognized the folly of believing the worst would always happen elsewhere, out there beyond the law.
