Pete Hegseth is the product of an essentially American ethos—which means we have no choice but to ask what to do with him, and what to do with ourselves.

An exhibition of Paul Klee’s late works focuses on his depictions of the atmosphere of violence and intimidation in Germany after the Nazis came to power.

Makenna Goodman’s new novel, Helen of Nowhere, offers up an exhilarating myth for men who need to be shuffled offstage.

Edward Fishman’s Chokepoints explains how the US came to rely on its economic arsenal, but stops short of a complete assessment of the unreliable tactic and its often devastating consequences.

Methane’s part in the climate crisis remains largely overlooked, even though it is responsible for 30 percent of all global warming to date, and despite the fact that it’s still possible to purge it from our skies.

In Mathias Énard’s many novels, encounters between cultures can lead to transformation—and peril.

Tracey Emin’s art has often tackled taboo subjects, including rape, abortion, and sexual abuse, but her multifarious works are always bracingly antitherapeutic.

The Supreme Court’s decision in Louisiana v. Callais deals a fatal blow to the Voting Rights Act, using reasoning that Congress rejected more than forty years ago. 

The Met’s new Tristan und Isolde was a vocal triumph for Lise Davidsen and Michael Spyres, but Yuval Sharon’s staging only fitfully captured the essence of Wagner’s masterpiece.

Historians must not cede the study of how Americans understand their cacophonous nation to advocates of “patriotic” history.

Generations of “sociobiologists” have tried and failed to argue that genetic analysis offers the key to understanding social inequality. A new book fares no better.

After the fall of Berlin the Soviets concealed their discovery of Hitler’s remains, leaving the Western Allies scrambling for evidence that he was dead.

Hu Anyan’s memoir about delivering packages in Beijing is disarmingly direct about the human cost of modern logistics.

The young artist Emily Kraus is preoccupied with the question of whether a machine can serve the same purpose for an artist as her own unconscious.

Magdalena Suarez Frimkess, a ceramicist with the inclinations of a Pop artist, has spent decades tapping unlikely sources for inspiration.

In his posthumous memoir, Alexei Navalny’s utopian vision of “the Beautiful Russia of the Future” remains strangely detached from history.