The attraction of lunatic balls seems to have come not only from the fear of violence or unpredictability in asylum-dwellers’s behaviour, but from the existential threat of being forced to ponder the blurry distinction between sanity and insanity.— Linda Besner
The Oysters of Locmariaquer, published half a century ago, feels like a precursor to the work of Eula Biss and Leslie Jamison—minus the modern worry over the possible harm of such storytelling.
Our books, movies, and television shows are arguably bleaker than ever. What’s behind the encroaching, thickening darkness?
The Canadian comedy fixture on punk rock, drunk dads, and adapting his life for stage and screen.
In David Shields and Caleb Powell’s I Think You’re Totally Wrong: A Quarrel, a problem involving doors and goats shows what arguments are really about.
The sibling filmmakers on letting a story grow organically, the challenges of representing depression on screen, and finding variances in a repetitive structure.
In this ancient Pompeii, sex was marketed unapologetically, with a directness that would shame the most mercenary of modern advertisers. Independent sex workers used graffiti to advise clients of prices and locations, while erotic frescos functioned as non-verbal signage for brothels, luring in passersby.— Alexandra Kimball
A stint teaching at a writer’s workshop in Ramallah leads the author to examine the Palestinian resistance through the literature that has shaped it. An excerpt from the latest Hazlitt Original.
How royalty went from almighty overlords to household mongrels — a new perspective on the monarchy. An excerpt from the latest Hazlitt Original.