Catastrophe Is Next to Godliness
A poem for Sunday
A poem for Sunday
“I’d never written fiction that stays with a single character for hundreds of pages; it almost felt like too much freedom.”
New fiction from Yaa Gyasi
The Disaster Tourist, a grim satire of capitalism, resonates during a pandemic that has revealed the brutal calculus of “essential work.”
A conversation with Ariel Sabar about the stranger-than-fiction story of a Harvard professor, a con artist, and a papyrus fragment that made front-page news
A poem by Yusef Komunyakaa, published in The Atlantic in 1998
A white man of the Jim Crow South, he couldn’t escape the burden of race, yet derived creative force from it.
Her latest novel frames lying as a creative act.
Writing is sometimes seen as a solitary pursuit, but co-authors, editors, and friends enrich the process: Your weekly guide to the best in books
In her debut novel, Luster, Raven Leilani tries to liberate her protagonist from any inherent virtuousness or exceptionalism.
A new collection introduces English-speaking audiences to an overlooked Japanese cartoonist who smashed both gender and genre norms during her short life.
The coronavirus could change lingering cultural assumptions about what makes for a full and happy life.
When her first novels were published, in the mid-1970s, Gayl Jones’s talent was hailed by writers from James Baldwin to John Updike. Then she disappeared.
A former U.S. poet laureate’s new memoir reflects on the power of storytelling to help us grieve—and offers lessons for surviving the cataclysms of the present.
On this year’s Booker Prize nominees, and winners from recent years: Your weekly guide to the best in books
A parable embedded in The Maltese Falcon offers a cautionary tale.
The origins of Putin’s worldview—and the rise of Russia’s new ruling class
A poem by Maxine Kumin, published in The Atlantic in 2009
What we can learn from books by politicians and their family members: Your weekly guide to the best in books
For those engaging in quick-response art, mess and chaos—not polished elegance—are the forms to best mimic a crisis that has no end in sight.