The Passion of Mario Savio
Saint, saboteur, or square? Fifty years after the Free Speech Movement, a look back at its charismatic leader.

Saint, saboteur, or square? Fifty years after the Free Speech Movement, a look back at its charismatic leader.
George Gissing’s novel captured our two-steps-forward, one-step-back journey to the “new” woman and man.
When changing the very mechanisms for change is off-limits . . .
Not every novel that concerns itself with the lives of women is a feminist novel.
Difficulty is not an inherent virtue. A book must on some level give pleasure.
Part three of our debate on the rise of the right.
The author of Invisible Bridge: The Fall of Nixon and the Rise of Reagan debates reviewer Judith Stein on the rise of the right in the 1970s.
In his latest book, Rick Perlstein tells lively stories at the expense of the political complexity.
Few institutions have offered themselves as less promising for the novelist than the modern office. And yet…
Introducing our special Fall edition on Politics and the Novel—with essays by Nikil Saval, Vivian Gornick, Benjamin Hale, Helen Dewitt, Nina Martyris, and Roxane Gay—David Marcus asks: what happened to the political novel?
Six fables by Syrian poet Osama Alomar.
…I cannot write otherwise than I do write. I am unable to, and I will not, even though I should want to violate myself; there is a literary law which makes it impossible to violate a literary talent—even with your …
It was a pleasure to read Lawrence W. Hyman’s statement: “It is not a moral direction that we must look for in literature but a disturbance.” Hyman provides an exciting way for handling moralistic objections—from Left and Right—that art is …
Writers and Politics by Conor Cruise O’Brien New York, Pantheon. 259 pp. $4.95. Conor Cruise O’Brien, at least on the international scene the radical-liberal intellectual par excellence, has recently published a new collection of articles and speeches, Writers and Politics. …
It was Susan Sontag, I think, who first pointed up the extreme theatricality of Marat/Sade. Susan Sontag was right, Marat/Sade is theatrical. Is the play dramatic, though? About this there seems to be some question in even Miss Sontag’s mind. …