I Had Become the Target: On Taylor Swift and the Power of Revisionism
In a preview of the upcoming LARB Quarterly issue, no. 41: “Truth,” Claire Shaffer muses on how Taylor Swift has begun to recast her personal story...
In a preview of the upcoming LARB Quarterly issue, no. 41: “Truth,” Claire Shaffer muses on how Taylor Swift has begun to recast her personal story...
Sean T. Collins explores a quartet of sleazy, sensual, sensational shows from 2023 that dared to go beyond prestige-TV dramedy realism.
Adam Mansbach writes about his experience growing up among antisemitism and hip-hop.
Michael Downs considers the troubled state of the institution that preserves the work of H. L. Mencken.
Philippa Snow examines the anti-heroism offered by Bravo’s reality show “Vanderpump Rules.”
Eliana Rozinov revisits Jane Campion's “A Girl’s Own Story” and “The Piano” on the 30th anniversary of the latter film.
Patrick A. Howell and Gennike A. Mayers write about the history of interchange between hip-hop music and the Caribbean Community.
Christopher Newfield argues that we need a new narrative to combat the US Supreme Court’s right-wing story about racial inequities.
Deborah Coen shows how historians miss a great deal when they rely on the quantitative tools of scientists.
Elizabeth L. Silver discusses four important court cases that have defined the landscape of women’s rights in the United States.
Jason Christian visits George Orwell’s birthplace in India.
Lori Marso looks at “Priscilla” within Sofia Coppola’s white girl oeuvre.
Crispin Sartwell argues that the Occupy leader seemed to be moving from anarchism to liberalism before his death.
Jonathan Alexander considers the work of Black, queer photographer Darrel Ellis, whose work is receiving renewed attention.
Sadie Sartini Garner meditates on mortality, music, and Christianity for LARB Quarterly, no. 40: “Water.”
Michael Dango dissects the history and stakes of Madonna studies.