Edward Said, My Grandfather, and the Problem of Home

By Morgan BarryJune 16, 2026

“Said's ‘Reflections on Exile’ summoned to mind the only 7 words my grandfather ever said to me about Ireland, where he had cousins he never knew: ‘I don’t think I’ll go back there.’” The post Edward Said, My Grandfather, and the Problem of Home appeared first on Public Books.

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Literature & Essays

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Who Benefits from Distorting American Studies?

“There is a movement undermining, constraining, and eradicating those who document, understand, and name the experiences of systematically marginalized communities in US history.” The post Who Benefits from Distorting American Studies? appeared first on Public Books.

Morgan BarryJun 17, 2026

Literary Hub

What is Home? On Food, Family and the Promise of Queer Domesticity

I begin by trying to remember the first white woman who taught me to cook. As a teenager, I watched Sara Moulton because she was so smart about food. She often made accessible dishes on her shows, especially on Sara’s

Krys Malcolm BelcJun 15, 2026

Literary Hub

Undiscovered Country: The 100th Anniversary of Virgina Woolf’s “On Being Ill”

I was lying in my attic bedroom reading a book, when my husband came up to speak with me. I wriggled over to make room for him and heard a muffled sound like a wet branch snapping. As I stood

Darcey SteinkeJun 15, 2026

The Paris Review

Announcing Our Summer Issue

Featuring interviews with Harryette Mullen and Yan Lianke, prose by Lucy Ellmann and Chigozie Obioma, poetry by Frederick Seidel, and a cover by Alex Da Corte.

Emily StokesJun 16, 2026

The Public Domain Review

Louis Pope Gratacap, A Curator in Lost Worlds

Arguably the first work of fiction to feature a *Tyrannosaurus rex*, Louis Pope Gratacap’s *The New Northland* (1915) is at once kaleidoscopic, mischievous, fascinating — and exhausting. Richard Fallon explores this “lost world” novel, finding a work as interested in cutting-edge science as it was in paying dues to its generic precursors.

Jun 17, 2026

The Paris Review

Making of a Poem: Hannah Piette on “Nijinsky Dancing”

“Nijinsky’s face layered in makeup became an apt figure for the poem I wanted to write—one in which a ‘civilian face’ could be recognized only through its effacement.”

Hannah PietteJun 17, 2026