The Molecatcher’s Daughter
by Paul Collins
James Curtis had the most perfect combination of talents ever known for crime reporting; it took the perfect criminal to set them in motion.
Dear Sir: Responses to an Ad Placed by a Nineteenth-Century Murderer
Whirl
by Scott Eden
The baffling history of the Whirl, an eight-page weekly paper covering crime and scandal in St. Louis’s black neighborhoods since 1938.
Inside the Third Reich
by Larry Frolick and Donald Weber
Incredible photographs and reporting from life among the brutal, chain-smoking plainclothes cops of Eastern Ukraine.
The Quays’ Magic Lantern Show
by Victoria Nelson
The Quay Bros.’ new film—their first in color, and their first love story—is perhaps the purest expression of their claustrophobic project.
Irvine Welsh
interviewed by Chloe Veltman
“Our unflinching contemporary Dickens” discusses his weird, telepathic shift from prose to drama.
David Gordon Green
interviewed by George Ducker
“Continuity has never been my specialty.”
Breyten Breytenbach
interviewed by Anne Landsman
The South African poet reflects on writing in prison, apartheid, and the bastardization of language.
DJ Shadow
in conversation with Jeff Chang
“Using samples doesn’t make something hip-hop any more than writing on walls makes someone a graffiti artist.”
Sedaratives
by David Wain
César Aira’s An Episode in the Life of a Landscape Painter
reviewed by Christopher Byrd
Brian Evenson’s The Open Curtain
reviewed by Andrew Ervin
Kevin Moffett’s Permanent Visitors
reviewed by Heather Birrell
Lynne Tillman’s American Genius, a Comedy
reviewed by Miranda F. Mellis
Kellie Wells’s Skin
reviewed by Rebecca Turnbull
Noelle Kocot’s Poem for the End of Time
reviewed by Alan Gilbert
The Theater of Memory: A Cheap Facsimile of an Old Monastic Trick
by Alex Wright
Still Rising: On the Deathless Relevance of Ernest Hemingway
by Tom Bissell
Schema: Altered Egos
by Gustavo Turner
