I read a lot this year, and it was fun—but I rated the books purely based on how they made me feel. Many of them could easily have ended up on my top list, barring a few misfires. There were also a couple of outright disappointments—Ambilimol and Vinoy Thomas’s attempts at sarcasm come to mind. […]
In Fosse’s trilogy, how is what matters. The story does not exist merely to say where it is going. László, Bernard, Murnane — all of them are about how. Hunger is how, Stoner is how. In Dostoevsky and Leo (Tolstoy), how is primary. Their where is also magnificent — especially in works like Anna Karenina
One Battle After Another is a grand-scale, darkly funny film that skewers American hypocrisy. It’s satire at its sharpest—mocking one of the world’s most powerful yet absurd countries and its chaotic political system. And yet, for all the detestation it attracts (these days even from Indian far-right voices), the U.S. has also nurtured some of
Recently I finished reading Cixin Liu’s Death’s End. In the hardcore science fiction genre, it stands as a peak of human imagination (for imagination itself is intelligence). It’s also the conclusion of the series. The central plot is that an alien civilization tries to conquer Earth. Humanity spends centuries preparing a weapon to face them.