When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
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When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
The 1973 film Messiah of Evil doesn’t scare with monsters—it shows instead how horror can annex a place, compelling you to pass through familiar and traumatic rooms, dread gathering as your heel meets the floor.
The author of the new Jann Wenner biography Sticky Fingers on writing a book that angers its subject, the influence and legacy of Rolling Stone, and the narcissism of Baby Boomers.
On the television lives of two spooky primetime families, the Addams and the Munsters.
Fascinated by Lou Reed's New York, I moved to St. Mark's Place two decades too late, and the sickness I got there followed me for years.
The author of Brother on inherited trauma, not telling stories that make Canada feel good, and how communities endure.
Songwriter Jim Steinman found his muse in the performer—and, forty years ago, they released their iconic, operatic rock album, Bat Out of Hell.