How a Yukon art project became a national phenomenon of sold-out shows, dream selves and subversive sexuality.
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When women can't speak up, a chorus of voices should rise to their aid, though that often seems like too much to hope for. John Irving understands this in a way most male writers don't or can't.
Guy Maddin's new feature imagines "unrealized, half-finished or abandoned films by otherwise successful directors" not as artifacts to pine after but as the accumulated muck of cinematic history.
Talking with the actor and comedian also known as Neil Hamburger about keeping a repellent character authentic, the joys of creating intricate meta-comedy, and coping with a room full of boos.
"I don’t sit around and think, 'Oh, I wish I was out right now. If I was out right now, I’d be doing this and that.' That’s just inviting pain into your life."
On humanity's often fanatical, obsessive, and fearful road to the cosmos over the course of the 20th century.
The author of Cloud Atlas, The Bone Clocks and, most recently, Slade House, on supernatural forces and the ice in his heart.
Aziah King's authorial voice is singular, and what she's already done on social media is more valuable than any corporate cosign.
Cosmic horror tends to be synonymous with H.P. Lovecraft, but others, from Thomas Ligotti to Nathan Ballingrud, show the many ways in which tales of a monstrous world can scare the hell out of us.
The Mets are a long-running dramatic play that has little to do with winning baseball and everything to do with embodying pain. If they win, they'll experience something their fans rarely do: victory.
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