We Have Seen the Enemy, and It Is Television

By Tevis Eurythmic
Cinema hates television. In The Theory of the Novel, Georg Lukacs posits that there are true novels and fake novels—books labeled “a novel” that are really just narratives created to move mass units of recycled stereotypes and tired tropes. Visual depictions of small screens inside cinematic worlds in the 1970s and 1980s suggest cinema felt the same about television: that the “idiot box” is a fraudulent, socially corrosive form of visual storytelling—a cheap, fake version of cinema.


By Joshua James Amberson
Google “street photographers” and you’ll notice a common thread: regardless of which sections of the population they’re known for photographing, they’re almost uniformly white. And largely men. In the top ten search results, there are only two women and one—Vivian Maier—has only become known in the past decade, years after her death. In the top forty results, there are only three people of color.

Venus in Rain

By Lisa Sibbett
Among all the woodenly significant short stories I was asked to read in junior high and high school, a few stand out as authentically awesome, non-wooden exceptions: a Donald Justice poem here, an excerpt from Slaughterhouse-Five there, and Ray Bradbury’s “All Summer in a Day,” which, oh my God.