Winter 2024 Winter 2024 Archive COLUMNS FEATURES What Becomes of the Brokenhearted GENE SEYMOUR ON JOHN A. WILLIAMS’S UNSUNG NOVEL Battle Lines BOOKFORUM CONTRIBUTORS RECOMMEND BOOKS ON GAZA Immaculate Imperfection JENNIFER KRASINSKI ON ANNE CARSON’S UNRULY ART OF RENEWAL Artful Volumes CRITICS ON THE BEST ART BOOKS OF 2023 COLUMNS CHRISTINA CATHERINE MARTINEZ on Agnès Varda HANNAH ZEAVIN interviews Adam Shatz FICTION KATIE KADUE: Lars Iyer’s My Weil SARAH CHIHAYA: Anna Biller’s Bluebeard’s Castle CELESTE MARCUS: Rachel Connolly’s Lazy City ADAM KLEIN: Katya Apekina’s Mother Doll NONFICTION ERIC BANKS: Benjamin Taylor’s Chasing Bright Medusas: A Life of Willa Cather BRIAN DILLON: Evelyn Hofer: Dublin MITCH THERIEAU: Dan Sinykin’s Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature CATHERINE LACEY: Sheila Heti’s Alphabetical Diaries GRACE BYRON: Sarah Lucas: Happy Gas HALEY MLOTEK: Leslie Jamison’s Splinters: Another Kind of Love Story JAMIE HOOD: Blake Butler’s Molly KAY GABRIEL: Robert Glück’s About Ed CARL WILSON: Kyle Chayka’s Filterworld: How Algorithms Flattened Culture
MITCH THERIEAU: Dan Sinykin’s Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature