October 7th

On Brian Barker’s Vanishing Acts, Carmen Maria Machado’s In the Dream House, and E.M. Cioran’s All Gall Is Divided The more I write, the more I find myself distrustful of words. Take, for instance, the previous sentence, within which I might have easily substituted “distrusting” for “distrustful of.” Or “furious at” for that. Or “disappointedContinue reading “October 7th”

September 20th

On Daphne du Maurier’s Rebecca, Emil Cioran’s The Trouble with Being Born, and Emily St. John Mandel’s The Glass Hotel The best storytellers, I find, surprise without appearing to try. I wrote last week of Sound of Metal, whose director and writer, Darius Marder, effortlessly avoids a minefield of genre clichés, thereby telling one ofContinue reading “September 20th”

September 9th

On Daniel Borzutzky’s The Performance of Becoming Human and Daniel Marder’s Sound of Metal About a minute ago, I finished Marder’s 2019 Sound of Metal. The film, in case you ignored it (as did I) amidst 2020’s Oscar’s nonsense, centers upon a drummer, Ruben Stone (Riz Ahmed, in a career-ascending turn), who loses his hearing.Continue reading “September 9th”

August 6th

On Fyodor Dostoyevsky’s Notes from Underground and Karen Russell’s Sleep Donation I’m also reading Thacker’s Infinite Resignation right now, and his pessimism has permeated my responses to everything else I read. Gloom and doom—and even more so the paralysis they can induce—have never struck me as so inevitable, so rational, as they do now. InContinue reading “August 6th”