Jessica Hopper / Photo: David Sampson
By Liz Baudler
Jessica Hopper’s byline connotes two things: vivid, confrontational description, and criticism with an unabashedly feminist and social conscience. “The First Collection of Criticism by a Living Female Rock Critic” raucously celebrates Hopper’s multidecade career, blaring its politics with the seminal piece “Emo: Where The Girls Aren’t” and veering through rap and rock and girls and boys with joyful and incisive abandon. Read the rest of this entry »
Tony Fitzpatrick/Photo: Paul Elledge
By Amy Friedman
“Whatever you do in this life, make sure you’re the only one who can do it,” Tony Fitzpatrick’s father advised him in the third grade, and hell if he didn’t listen. Artist, author and actor are but a few of his titles, and there’s no doubt that no one can do what Tony does.
“Dime Stories,” the soon-to-be-released foul-mouthed, straight-talk collection of Fitzpatrick’s Newcity columns speaks truth to power, and we’d be wise to heed its warnings and take its advice. Fitzpatrick rails against waste, criticizes the sellout of our political institutions to big money, laments the proliferation of mass shootings and parses various other elements that lead to injustice. These essays examine with sharp focus and acerbic wit our true nature and that of our changing city, rife with new dangers and old problems. Read the rest of this entry »
“Two” is a compelling book of photographs by Evanston photographer Melissa Ann Pinney. Edited and introduced by Ann Patchett, interspersed throughout are ten essays on the theme of twoness written by some of our best contemporary writers, including Barbara Kingsolver, Edwidge Danticat and Richard Russo. Read the rest of this entry »
By Toni Nealie
A young man argues about how to make a martini. It’s a performance, both in the bar and on the page. The man’s friend says, “Look at yourself. Look at how you’re acting.” So the writer does, commenting: “Young people have a flair for, a tendency toward the tumultuous.” In “Regret,” his first prose collection, Ryan Spooner examines ideas about selfhood, social class and masculinity, the male gaze and the tumult of becoming adult. Read the rest of this entry »
The reason I know a smidgen about comics: I hang out with a lot of geeks. Feminist, sex-positive, queer-friendly geeks. They told me the backstory of Wonder Woman’s creator, William Marston, radical psychologist and happy polyamorist. Jill Lepore explored Marston’s home life in “The Secret History of Wonder Woman,” but Chicago-based culture and comics writer Noah Berlatsky took a deep dive into the marriage of psychology and artwork that is Marston’s enduring pop culture impact.
Even comics skeptics find Wonder Woman unique and titillating. As Berlatsky rightly points out, she’s been a feminist icon for decades, and among certain circles, a kinky queer one. (Lasso of truth? Ladies-only island? Hmm…) Berlatsky illuminates how Wonder Woman—of World War II inception—nods at that era’s values yet still espoused female superiority and pacifism, slyly winked at lesbianism and even may have stood traditional rape and incest narratives on its head. He also focuses appropriately on the artist, Harry Peter, as well as Marston, and shows how even Peter’s idiosyncratic perspective and anatomy bolster the argument that the series was ahead of its time. Read the rest of this entry »
Lindsay Muscato and Write Club Overlord Ian Belknap/Photo: Evan Hanover
By Adrienne Gunn
Write Club, Chicago’s pre-eminent storytelling brawl that pits two writers with opposing themes against one another in front of a live audience, has collected its funniest and most badass bouts into a new anthology, “Bare Knuckled Lit: The Best of Write Club.” The live show, taking place in Chicago on the third Tuesday of every month at The Hideout, prides itself on high-intensity, no-holds-barred matches. How does “Bare-Knuckled Lit” compare? Write Club founder and “overlord” Ian Belknap says, “It’s the difference between hunting on a game preserve, and hunting in the wild; between a fencing match, and a fistfight in a gas station parking lot.” Read the rest of this entry »
Photo: John Freeman
By John Freeman
Newspapers may be dying, our publishing industry is at war with Amazon, but a bright spot remains in U.S. letters: the literary essay. In the past decade, writers known for other books and other work have begun working in the form that gave birth to the New Yorker.
These new essayists—from John Jeremiah Sullivan to Elif Batuman, Aleksandar Hemon and Daniel Alarcon—don’t come from the same boys club as the writers of the last heyday of the essay. They are unglossy, smart, deeply stylish and, with her debut collection of essays, “The Empathy Exams,” Leslie Jamison proves she will probably write her way into their company.
Jamison is hardly an underdog. She grew up in Los Angeles, the daughter of a prominent economist, niece to the psychotherapist Kay Redfield Jamison. She attended Harvard and the Iowa Writers’ Workshop, and is currently studying for a Ph.D. at Yale. Her debut novel, “The Gin Closet,” the tale of three generations of women and their tortured family history, received high praise when it appeared in 2010.
And yet it did not prepare readers for “The Empathy Exams.” Written over a period of many years, the book examines how pain both defines and defies us, and meditates on its role in empathy. The title essay recalls a period that Jamison spent as a medical actor, faking ailments in scenarios meant to test doctors of their diagnostic skills and their ability to demonstrate empathy. “Empathy isn’t just listening,” Jamison writes, “it’s asking the questions that need to be listened to.” Read the rest of this entry »
By Amy Beth Danzer
It was this year’s AWP Conference in Seattle when I first came in contact with the tour de force that is Roxane Gay. After an evening of readings, publishing-house parties and general carousing, a crew of us found ourselves in the lobby of one of the main hotels hosting the conference, where the likes of Tobias Wolff or Richard Bausch could be spotted waiting for an elevator. As we made our way toward the hotel bar, my friend Adrienne stopped and gasped, “Oh my god, that’s Roxane Gay! I love her.” There she was in unassuming jeans and t-shirt, the ubiquitous culture critic who Flavorwire declared one of 25 Women Poised to Lead the Culture in 2014, Roxane Gay. I knew about her, but was not yet intimate with her work. Adrienne on the other hand was a confirmed admirer and devoted follower. As soon as an opportunity arose, she jumped at the chance to discuss with Gay the very important matter of Juan Pablo Galavis, the then-new Bachelor, and his romantic interests, Ferrell and Crawley. Though not a fan of the show myself, I was thoroughly entertained by the conversation and thoroughly impressed by Gay, who was clearly an intellectual, informed and sophisticated, yet still able to speak vox populi—a combination I dig in people, especially in writers. I needed more of a fix, which was all too easy to satisfy; she and her work are everywhere. Read the rest of this entry »
By Liz Baudler
Megan Stielstra’s writing career is forever changing. She tells me this as we sit on couches in the office space for her new nine-to-five job, and it looks like a sushi bar, all square lines and pale stripes of wood and white blocks. The walls are whiteboards and she can’t wait to take a marker to them.
Stielstra’s writing career has never been about the best-selling novel she hoped to write. It took shape as she scrubbed floors in Florence and read a lot. When she went to Columbia College, she walked out of her first class feeling like she had smoked everything there was to smoke, so high was she from the excitement of writing.
The writing career detoured when a trusted professor asked her if she’d ever thought about teaching. Yet she can’t stand in front of a classroom without writing, or else she’d violate some incredible trust with her students. It still amazes her that they trust her with first drafts: she would balk at handing over hers like that. Read the rest of this entry »
Jordan Ellenberg starts off his mathematics paean by invoking, of all things, sports. Much like math, it’s not as bad as it sounds. Not everyone’s going to be a professional soccer player, he says, but pickup players and World Cup defenders use the same skills. So is it with math. It’s more than just the passing drills of multiplication tables and quadratic formulas. “How Not To Be Wrong” is the logical continuation of Ellenberg’s classroom teaching, and Slate’s “Do The Math” column. For years he’s been working to inspire not just math literacy, but respect and wonder too.
The stories Ellenberg tells—and he is a storyteller—refuse to insult his reader’s intelligence. Whether it’s the bullet-riddled planes coming back from the front or the dead salmon that seem to show a thought process in an MRI, things are not always what they seem. To the mathematician, math is a curious process of assumption and provocation. “How Not To Be Wrong” is part exposé—concepts most of us are never privy to are explained along with obvious surprises we just need to hear over again. (Numbers are fudged, findings inconclusive. If we had a logically mathematical voting system, we’d have elected President Gore.) A truly gifted professor, Ellenberg includes diagrams, proofs and poetry to illustrate his points. His utility has been clearly maximized by the telling of mathematical yarns. Read the rest of this entry »