The Most Dangerous Book: The Battle for James Joyce’s Ulysses by Kevin Birmingham
Can’t and Won’t by Lydia Davis
Satantango by László Krasznahorkai, translated from the Hungarian by George Szirtes
Encounter by Milan Kundera, translated from the French by Linda Asher
Memories of the Future by Sigizmund Krzhizhanovsky, translated from the Russian by Joanne Turnbull, with Nikolai Formozov
Verses and Versions: Three Centuries of Russian Poetry selected and translated from the Russian by Vladimir Nabokov, edited by Brian Boyd and Stanislav Shvabrin, and with an introduction by Brian Boyd
Alan Pauls, “one of the best living Latin American writers,” according to Roberto Bolaño, has a new novel out—A History of Money is a desolate, delighted history of our impermanent valuations.
Should a ballet be about something? Wayne McGregor’s new ballet, Woolf Works, offers one way of thinking about this constant conundrum for the art of ballet.
Tomorrow Night represents Louis CK’s provenance. It makes the sofa-bound viewer consider a constant artistic problem: How does a voice become a voice?
Every year the Serpentine Gallery commissions a new pavilion for its grounds in Hyde Park. This year They’ve produced a synthetic, multicolored chrysalis, like the wrapper for candies.
The first retrospective of Agnes Martin’s work since 1994 is a small revelation of paleness and penciled grids.
Genzken has always had a fractious relationship to history, and to modernism. In her new exhibition at the ICA, you can watch the festive, anguished process of her thinking.
This two-month season at the British Film Institute brings the rerelease of Touch of Evil, in Walter Murch’s irrefutable re-edit.
Harrison Birtwistle made The Corridor, a chamber opera on the theme of Orpheus, in 2009. Now he has added a companion piece, The Cure, on Medea.