The full [fantastic] TLS review of Noam Elcott’s Artificial Darkness: An Obscure History of Modern Art and Media follows below—for those behind the Times (or a paywall)—after the jump. *** In
Just in time for this weekend’s unofficial “start of summer” gong, Nature (yea, that Nature—though also, ostensibly, “nature,” the wilder of nouns, not that other one qua Lucretius’s De rerum
Jessica Riskin’s The Restless Clock situates a new dialectic at the center of the life sciences, the role played by agency—simultaneously underscored, dismissed, banned, and advocated—in our
Advanced praise for Philip Ball’s forthcoming Patterns in Nature: Why the Natural World Looks the Way It Does (April 2016), from Publishers Weekly: Acclaimed English science writer
From Nandini Ramachandran’s review of The Dead Ladies Project at Public Books: The Dead Ladies Project is part of a long literary tradition of single ladies having
Laura Beck at Jezebel stared down the facade of The Library: A World History and liked what she saw (“You’re Gonna Drool Over This Pure,
A recent review from the New Yorker—and more about the book here. “The wings of the pterosaur take us to the Wright Brothers, the pinhole
From Josh Cook’s review of Recalculating by Charles Bernstein, in the May issue of Bookslut: With translations, imitations, and homages, and with poems of poetry’s
From the New York Times Book Review: A riddle: What does Captain Ahab have in common with Sherlock Holmes? Answer: Both characters were created by
It’s that time again: we accidentally left a printout near the copier on the 3rd of May 2010 (Goya reference not lost upon us!), only
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