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Matt Bai’s All the Truth Is Out helps answer a baffling question: why do Americans care so much about the minutiae of their leaders’ lives?
Kerry Howley’s debut book, Thrown, seems to fit into the tradition of the intellectual approaching a violent subculture with anthropological curiosity. Where it differs is in its uncommon empathy.
The author of Adult Onset on parenthood, trauma, and geeking out on psychoanalytic theory.
Catastrophe, capitalism, and unlikely optimism in Ben Lerner’s 10:04 and Naomi Klein’s This Changes Everything.
Does anonymity lead to incivility—or the opposite? Consider examples from Alfred Hermida’s Tell Everyone: Why We Share and Why It Matters.
Plenty of companies are feeding data to computers in the hopes of replicating human behavior, but how close can machines truly get if all they have to work on is the information we offer?
César Aira writes practically off the cuff, creating narrative puzzles for the fun of solving them. Should his readers feel tricked?
As our population ages, the question becomes more dire: how do we preserve the rights of the elderly? Atul Gawande’s Being Mortal contains some ideas.
It was always easy to dismiss Montreal as a baseball city. Now, though, 10 years after the Expos’ final game, it’s somehow harder than ever.
The Giller Prize-winning author returns with a new novel, Quartet for the End of Time, which challenges not only her readers, but the limits of artistic expression.
Visiting with rival agonistes in the struggle over the Central African Republic. The third in a series of dispatches.
The protagonists of Dionne Brand’s Love Enough grow up in the foster care system, which began, historically, as a form of indentured labour. Is it still failing kids?
Pere Ubu’s new album taps into an old fantasy—leaving your troubles behind on the open road—which is as comforting now as it always was doomed.
How millennials listen to music, and why genre still matters.
The author of This Changes Everything on how the environmental movement went awry, and why it needs to rediscover its sense of radicalism—demanding deep change from the status quo.
Robert of Timothy Findley’s The Wars is a survivor, and he curses himself. What does it mean to be the sole survivor?
An email exchange with the singer, composer, and multi-instrumentalist about his new album, song sequencing, dysphoria, and moving to Montreal.
We pay a visit to the Canadian artist’s Brooklyn studio and take in her latest work. Discussed: creating versus criticism, the logic of colour, and what pretty means.
From a decaying airport lounge to fighting on the streets of Bangui—phantoms of the past loom large over the current conflict in the Central African Republic. The second in a series of dispatches.
Vollmann isn’t post-modern so much as a 19th-century Romantic, roping himself to his desk. If you’re not in the mood it’s too rich; if you are, it’s a banquet.

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