COLUMNS
The Round World Made Flat
JACKSON LEARS TAKES STOCK OF JARED DIAMOND’S THEORIES OF THE HUMAN PAST
Lipstick Traces
RACHEL KUSHNER ASSESSES NEW TRANSLATIONS OF LITERARY ICON CLARICE LISPECTOR
CHRISTIAN LORENTZEN on Kingsley Amis’s drunken comedies
MELANIE REHAK on the joy of holiday gift baskets
KERRY HOWLEY on how the Osama bin Laden mission is ready for its close-up
CHOIRE SICHA on the hidden virtues of the envious life
ZACH BARON: George Saunders’s Tenth of December
EDMUND GORDON: James Meek’s The Heart Broke In
RUTH FRANKLIN: Leonard S. Marcus’s Listening for Madeleine: A Portrait of Madeleine L’Engle in Many Voices
ED PARK: P. G. Wodehouse: A Life in Letters
CLANCY MARTIN: Alejandro Zambra’s Ways of Going Home
ALBERT MOBILIO: Christine Schutt’s Prosperous Friends
MICHAEL DIRDA: Georges Minois’s The Atheist’s Bible: The Most Dangerous Book That Never Existed
JOHANNA FATEMAN: VALIE EXPORT’s Archiv
ERIC BANKS: Matthew Guerrieri’s The First Four Notes: Beethoven’s Fifth and the Human Imagination
LOUIS BAYARD: David Thomson’s The Big Screen: The Story of the Movies
JOHANNA BURTON: Catherine Morris and Vincent Bonin’s Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art
JENNY DAVIDSON: Oliver Sacks’s Hallucinations
ALBERT MOBILIO: Gerhard Richter’s Patterns: Divided, Mirrored, Repeated
RICHARD BYRNE: Lawrence M. Principe’s The Secrets of Alchemy
COLBY CHAMBERLAIN: Ben Kafka’s The Demon of Writing: Powers and Failures of Paperwork
DAN KENNEDY: Errol Morris’s A Wilderness of Error: The Trials of Jeffrey MacDonald
ROCHELLE GURSTEIN: Paul Avrich and Karen Avrich’s Sasha and Emma: The Anarchist Odyssey of Alexander Berkman and Emma Goldman
RICK PERLSTEIN: Landon R. Y. Storrs’s The Second Red Scare and the Unmaking of the New Deal Left
CHRIS WILSON: Nate Silver‘s The Signal and the Noise: Why So Many Predictions Fail—but Some Don’t