For Zocalo magazine, Waldie paints a portrait of the Los Angeles-based artist Ed Ruscha who “captures the deeply two-dimensional city like no one else.”

In The Believer, Donovan dissects the work of artist Kate Carr, whose sculptures he describes as “things blazing with the way things are.”

On The Nation, Pollitt argues against France’s “burkini” ban, stating that bans on the swimwear “aren’t only wrong – they’re counterproductive.”

Core talks to The Believer about how her East Village neighborhood has changed over time and why writing is a part of the impulse “to make sense.”

Whiting winner Terrance Hayes and fellow poets Dawn Lundy Martin and Yona Harvery have launched the CAAPP, a new center for black poetics and a creative think tank that will spark collaboration among poets and artists and promote African American poetry.

For Oxford American, Offutt reflects on using water to make sea monkeys, feed a family, or “succumb to the need for social approval.”

In the New York Review of Books, Pinckney unpacks the history of race and policing in the United States. 

Smith talks to Paul Holdengräber about "overdrive parenting" and what changed the way she was praying.

The Culture Trip declares Keene’s latest has “polyphonic depth” and writes “to try to summarize the work in even a couple archetypes seems an injustice.”

“I won’t tell you how it ended/ But it ended” begins Phillips’s ode, on Poets.org, to a lost romance.