“Trying to completely sever art from politics is a fool’s errand, but so is attempting to wed art so close to political struggle that it is overtaken by rank materialism.”
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The state of contemporary criticism is dire, but here at The Baffler, we’re still plugging away. Subscribe to Culture Trust to see the fruits of our efforts.
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Every single word of this piece by Sarah Aziza سارة عزيزة (she/her) published today in The Baffler

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“This moment thus serves to remind the tens of thousands of Palestinians who work for [UNRWA], and the millions more who rely on its services, that their political existence is, as a matter of definition, illegitimate.” thebaffler.com/latest/assista…

my book BURNOUT is out today with Verso Books - here's an excerpt in The Baffler about why existing theories of 'left melancholy' didn't quite seem to describe the kinds of experiences I was trying to write about

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I'm in the new issue of The Baffler with a feature on the increasingly bizarre and violent world of military influencing: thebaffler.com/salvos/full-me…

Since 2020, the dance music press has rushed to platform Black artists; clubs followed suit. But as Hubert Adjei-Kontoh writes, it’s hard not to see these acts as more than bland corporate posturing.
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feels like the best essay i have read in such a long time! so good! thebaffler.com/salvos/good-en…

“These regimes would be mistaken to think that we will forget what we’ve seen.”
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Sarah Aziza سارة عزيزة (she/her) thinks on the crime of language against language The Baffler in this powerful essay and generously cites my book [...]

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Amid the war in Gaza and the legacy of the AIDS crisis, of public and private grief, Hannah Gold considers what we owe the dead—and who is afforded a non-politicized death.
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Is there anything revolutionary about listening to dance music? Hubert Adjei-Kontoh is skeptical. In our new issue, he writes on the neatly packaged identity politics on display at the rave.
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Please read this powerful essay by Hannah Gold that speaks with great force and integrity to mourning and action and our present moment.

Democrats are addicted to an ethos of compromise that long ago curdled into a defense of status quo power relations—regardless of how brutal, illegitimate, or otherwise misguided those relations actually prove to be. We told you so back in 2018.
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This week marks six months since the start of the war in Gaza. Sarah Aziza سارة عزيزة (she/her) writes on how Israel’s brutal campaign—and the West’s support—has created a crisis of language.
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exhilarating read from Hubert Adjei-Kontoh.
'Part of the reason music writers attempt to engage with [dance] music through the lens of Blackness is that it’s much easier to make claims about racial inequity than describe abstract music.'
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this was so well written i really loved this

“Pilfered soul is the name of the game, but the notion that dance music’s emergence from marginalized communities gives it radical political power is cheesy utopianism at best. It merely strikes a pose.”
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When UNRWA formed in 1949, it was meant to be temporary. Instead, it became a tool for the international community to cover up the problem of mass Palestinian expulsion.
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very cool to see Jenny Erpenbeck's KAIROS on the Booker shortlist!

if you find yourself wanting to read a couple thousand words on love, historical discontinuity, the generations of the GDR, and S&M in her work, do please consider clicking on mine >>>

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