Arts & Letters

Cover of Lincoln in the Bardo
Bloomsbury; $29.99
By Kevin Rabalais
Still from The Salesman
The domestic disquiet of Asghar Farhadi’s ‘The Salesman’ gives way to suspense
By Luke Davies
Image of Cat Marnell
Cat Marnell’s ‘How To Murder Your Life’ is an addiction memoir with a difference
By Jenny Valentish
Image of Wrest Point casino, Sandy Bay, Tasmania
James Boyce’s ‘Losing Streak’ investigates how one family came to rule the state’s poker-machine industry
By Amanda Lohrey
Image of PixCell-Double Deer#4 (2010), by Kohei Nawa
‘Sugar Spin’ at GOMA aims to please and to challenge
By Sebastian Smee
Cover of The Undoing Project
Allen Lane; $45
By Michael Lucy
Cover of Transit
Jonathan Cape; $32.99
By Kevin Rabalais
Image of Bruce Springsteen
Bruce Springsteen is the consummate live performer
By Anwen Crawford
Still from Toni Erdmann
Maren Ade’s ‘Toni Erdmann’ is one of the most misread movies of the year
By Shane Danielsen
Image of the Pilbara, Western Australia.
Mark McKenna’s ‘From the Edge’ tells four fascinating stories of Aboriginal and settler interaction through the history of place
By Frank Bongiorno
Image of Helen Tufts and Helena Born
Emily Witt’s ‘Future Sex’ and Sheila Rowbotham’s ‘Rebel Crossings’ approach the concept of free love from different perspectives
By Anwen Crawford
A poem
By Sarah Holland-Batt
A poem
By Sarah Holland-Batt
Image of Hans Bellmer’s The Doll
Art Gallery of New South Wales, Sydney, until 5 February
By Julie Ewington
Image of Prince
Pop music is more than lyrics on a page
By Anwen Crawford
Still from Black Mirror
Netflix’s ‘Black Mirror’ is ‘The Twilight Zone’ for our tech-obsessed times
By Luke Davies
Image of surveillance of David Combe
The third volume in ASIO’s official history confirms infiltration by Soviet intelligence
By David McKnight

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