Martin Eden is the story of an autodidact who, in transcending his social class and achieving artistic success, becomes trapped in both the strictures of the culture industry and the confines of his own rigid ideology.

Fourth installment of Anvil and Rose, the third by Inspector Wyatt.

Far from being a straightforward narrative, Jean Daive’s memoir-cum-poetic-reverie Under the Dome: Walks with Paul Celan is yet all the more rewarding for its doggedly lucid wandering through recurring vagaries of symbol and motif.

Trakl is a main character in Adorno’s important concept of the enigmatical. 

Third installment of Anvil and Rose, the second by Inspector Wyatt.

Cualquiera puede solamente verse beneficiado por una buena traducción, porque una traducción actúa sobre y retroactivamente transforma el original.

“I grew up very much alone, and as far back as I recall I was frightened of anything sexual.”

The works included in Milano Chow’s new show at Bel Ami, “Park La Brea,” conceal themselves from strangers, murmuring discomfort and paranoia under their breath, only audible when confronted with the intention of listening.

The re-imagining of Christianity among its livelier adherents is as vital as any secular “poetics.”

Love makes you a stranger to yourself, and the best any of us can hope for is someone good and kind willing to catch you from that existential fall.

El pasado no desaparece en el presente sino que trona hacia el olvido junto con él. El presente es supuesto por el pasado, incluso si no es el futuro que el pasado tenía en mente.

Una entrevista con César Vallejo, perdida desde julio de 1937, publicada con notas de Andrés Ajens.

Our second installment of Anvil and Rose! Hermann Van den Reeck reviews five books of poetry from Lillian-Yvonne Bertram, Don Mee Choi, Natalie Díaz, Tommy Blount, and Eduardo Corral.

Caesura publica la primera parte del ensayo Traducción como Conquista de Austin Carder traducido al español por Christopher Uribe.

What dynamically distinguishes Dumas is the visionary element, where the everyday is upended by mythic moments and alternative possibilities of living and dreaming are represented.

Artists of our generation are so hopeless that they would rather wish for fascism than confront the real challenge of the present.

Watt on books by Bob Arnold, Jericho Brown, Carolyn Forché, Patricia Colleen Murphy, and Fernando Pessoa.

What’s objectionable for Lehrer is that the products of the culture industry transmit a comfortable (numbing) attitude towards reality as opposed to an “ambiguous” or “critical” one, which art formerly laid claim to.

The art that casts a critical eye towards our society in its totality, or even just employs ambiguity to inspire criticality in its viewers, is met with skepticism, if not hostility.

Art itself doesn’t need to be defended: even when it whispers fake nothings, or indulges suspicious behavior, it speaks more than any defense ever could.