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OUT NOW: ISSUE 365! Julia Bryan-Wilson on Teresa Margolles, Harmony Holiday on Britney Spears, Melissa E Anderson on “It Is Not the Homosexual Who Is Perverse, but the Society in Which He Lives,” and Jeremy Lybarger on “Tramps Like Us” by Joe Westmoreland 4columns.org

I wrote about IT IS NOT THE HOMOSEXUAL WHO IS PERVERSE, BUT THE SOCIETY IN WHICH HE LIVES, MoMA Film June 6 and 20, for this week’s 4Columns. 4columns.org/anderson-melis…

4columns.org/holiday-harmon… Wrote about Britney on the occasion of the 25th anniversary of her sophomore album and because her handlers still got by with way too much, then and now. Will continue to eviscerate the child star industry

OUT NOW! ISSUE 365: Harmony Holiday on the haunting darkness of Britney Spears’s “Oops! . . . I Did It Again”, Melissa E Anderson on Rosa von Praunheim’s “It Is Not the Homosexual Who Is Perverse, but the Society in Which He Lives” MoMA Film, and more. 4columns.org

“The title of the sculpture suggests that tragic and untimely demise is the single overriding condition of trans life, taking place ‘a thousand times an instant.’ ”—Julia Bryan-Wilson on Teresa Margolles’s “Mil veces un instante” in Trafalgar Square 4columns.org/bryan-wilson-j…

“It’s not nostalgia that reacquaintance with this music conjures, it’s suspicion that this woman with a child’s mind is still in trouble and under the same spells by new names.”—Harmony Holiday writes about the reissue of Britney Spears’s second album 4columns.org/holiday-harmon…

“Her restrained sculptures owe their elegiac aura to our knowledge of their contact with tragedy, but they skillfully deflect our morbid curiosity about their particular, terrible provenances.”—Johanna Fateman on Teresa Margolles, from the archive 4columns.org/fateman-johann…

“The film savages gay-male self-destruction and the pathological need to replicate an irredeemably corrupt and enfeebled heterosexual culture.”—Melissa E Anderson reviews “It Is Not the Homosexual Who Is Perverse, but the Society in Which He Lives” MoMA Film 4columns.org/anderson-melis…

“Thematically, the novel’s form suggests how impermanent queer self-discovery is, a constant jaws-of-life procedure attended by losses, reversals, cliff-hangers, and narrow escapes.”—Jeremy Lybarger reviews “Tramps Like Us” by Joe Westmoreland MCD⨯FSG 4columns.org/lybarger-jerem…

“Is a corpse still a person? The answer has to be yes and no, and the ambiguities proliferate when he turns to people who’ve been deliberately consigned to this legal space between.”—Brian Dillon on “Absentees” by Daniel Heller-Roazen, from the archive 4columns.org/dillon-brian/a…

“As an ephemeral anti-monument organized around the tzompantli, the work feels hermetic and defeated as it participates in spectacularizing the inevitability of trans death.”—Julia Bryan-Wilson writes about Teresa Margolles’s “Mil veces un instante” 4columns.org/bryan-wilson-j…

“When we watch and adore American pop stars under twenty-five, we are watching sophisticated child trafficking, and as comforting as it was to see a judge rule in her favor publicly, I don’t believe that Britney is free.”—Harmony Holiday on Britney Spears 4columns.org/holiday-harmon…

ICYMI: ISSUE 365 is up for one more day! Don’t miss Jeremy Lybarger on narrative voice in “Tramps Like Us” by Joe Westmoreland, Julia Bryan-Wilson on the ephemerality of Teresa Margolles’s “Mil veces un instante (A Thousand Times an Instant),” and more. 4columns.org

THIS FRIDAY: Leslie Camhi on Hala Alyan’s memoir “I’ll Tell You When I’m Home,” Zack Hatfield on the makeshift monsters of “Rachel Harrison: The Friedmann Equations,” and more. Sign up now for our free e-newsletter to receive weekly issues in your inbox. 4columns.org/follow

“Simply saying the title in full feels like uttering an incantation. More than a half century later, it continues to spotlight issues far from resolved.”—Melissa E Anderson reviews “It Is Not the Homosexual Who Is Perverse, but the Society in Which He Lives” 4columns.org/anderson-melis…

“ ‘Tramps Like Us’ demonstrates the extent to which queer life in America is bound up in migration and the urban demimonde.”—Jeremy Lybarger writes about the newly reissued 2001 novel by Joe Westmoreland MCD⨯FSG 4columns.org/lybarger-jerem…

OUT NOW: ISSUE 366! Erika Balsom on Madeleine Hunt-Ehrlich’s new film “The Ballad of Suzanne Césaire,” Jennifer Kabat on “Lili Is Crying” by Hélène Bessette, Zack Hatfield on Rachel Harrison, & Leslie Camhi on “I’ll Tell You When I’m Home” by Hala Alyan 4columns.org

"Where the biopic imitates, Hunt-Ehrlich evokes; where it sutures cause to effect, she wreaks gentle havoc on chronology." —Erika Balsom on THE BALLAD OF SUZANNE CÉSAIRE, now BAM Film, in this week's 4Columns. 4columns.org/balsom-erika/t…

“A calm yet kaleidoscopic swirl of palm fronds, words voiced from creased paper, a baby’s cries, amorous camaraderie, and the vocation of anti-fascist and anti-colonial struggle.” Erika Balsom on BALLAD OF SUZANNE CÉSAIRE. Opens tn BAM Film! 4columns.org/balsom-erika/t…

“The realist novel comes with a fiction of resolution, progress, ending in a new and better place. Bessette defies that fiction.” In 4Columns, Jennifer Kabat reviews Hélène Bessette’s newly translated novel, “Lili Is Crying” - 4columns.org/kabat-jennifer…