As Trump drags global trade and the dollar sinks to a four-year low, one bipartisan obsession endures: dollar dominance, the world’s reserve-currency privilege. Kenneth Rogoff’s Our Dollar, Your Problem could have traced its genealogy and risks, but instead serves up tired Boomer platitudes.

To keep us in the loop, the mental health industry, especially online, has hand-sized solutions for loss—even when it is as unbearable as losing a child. Against this tide of griefluencing, Yiyun Li’s memoir on the deaths of her sons insists on the permanence of sorrow—and a language of mutual care.

“For years I knew him only as the biographer of Jack Spicer, the enigmatic poet who penned the unforgettable sentence: ’if it were spelled mune it would not cause madness.’ But Kevin Killian was much more, an experimental writer, a playwright – and the most important Amazon reviewer of all time.”

It was a tragic turning point in the history of decolonization: the CIA-backed ousting and assassination of Congo’s president Patrice Lumumba. In the era’s visual and sound archives, Johan Grimonprez has tried to find a soundtrack to this fateful coup d’état, but fails to grasp its complex rhythms.

The Brazilian artist’s first retrospective in Germany invites visitors—or participants—to play with her famous 1960s Bichos. Enshrined in the Internationalist glass museum, Clark’s revolutionary gesture risks losing its local specificity to become all aesthetics and no political action.

The Destruction of Gaza has eerie echoes in Jewish history. As books by Göran Rosenberg, Peter Beinart and Michael Sfard confront the catastrophic aftermath of October 7, Jewish thought and Jewish tradition in both Israel and in the diaspora could hardly be more opposed to the Israeli government.

Much of Trump’s crude tariff policy stems from economist Stephen Miran, whose User’s Guide to global trade wants to structurally devalue the US dollar. But his hands are tied: shadow banks provide much of the world’s USD supply, and squeezing them too hard would crash the financial economy.

With millions in sales, royalties from big-time TV, and widely read op-eds on the Basque question, Fernando Aramburu is a star in the Spanish literary scene. While his best-selling novels show a lack of empathy for his political opponents, in El Niño, he returns to what he does best: storytelling.

Despite being a reliable source of harm and harassment, the nuclear family has not yet seen its own MeToo moment. Are families everywhere, even in Norway, doomed to endless Repetition, as Vigdis Hjorth’s new novel suggests?

Judith Butler has become for many—borrowing her own words on Hannah Arendt—the «most avid secular Jewish critic of Zionism» in the 21st century. An engagement with their actual writing on Palestine reveals a subtle, non-violent position that presents a challenge to both Israelis and Palestinians.

What the Eiffel Tower is to Paris and Linzer Torte to Linz, Sally Rooney and Rachel Cusk are to the novel—to meet the standard they have set themselves, they must exceed it. As their newest books have missed that mark, should we read them as rebellions against normality? Or did they simply fail?

In the 80s and 90s, debates raged on how to represent atrocities like the Holocaust. Today, the internet is flooded with numbing images. Lee Yaron and Amir Tibon’s books on October 7 break through this noise with personal testimony and investigative research, revealing Israel’s torn soul.

Over the last 50 years, seeking dead women has become a strangely popular topic of novels, biographies, and autofiction—with authors often as female, white and floundering as their objects of desire. But besides the mix of undiscovered talent and morbid glamor, what are they really looking for?

Rashid Khalidi’s The Hundred Years’ War on Palestine offers a critical historical account of the Israel-Palestine conflict. Challenging its widely accepted interpretation as a clash between two irreconcilable narratives, it has been received in Germany with suspicion.

The Delors Report laid the groundwork in 1985 for the «Maastricht Europe,» which included the EU internal market and monetary union. Mario Draghi’s 2024 report now advocates for a paradigm shift from competitiveness to productivity. The EU has no alternative but to embrace this directive.

Faroquhi, Putz, Mercedes… Like the poststructuralists who were his contemporaries, Harun Farocki played with faces and facets of a fracturing self. But instead of polishing his reputation, he used his «foreign» name and outsider position as sources for a gradually evolving craft of self-alienation.

Recent novels by Jennifer Croft and Kate Briggs amp up the role of the literary translator precisely in a the moment when the machines take over. Is this a last hurrah of a heroic yet notoriously invisible profession – or does it betray an ignorance of what translators are actually doing?

«I dreaded encountering what I already knew: that I was more likely than white women or non-Black women of color to deliver a child prematurely, more likely to die from childbirth, and more likely to have my pain ignored by the medical professionals tasked with keeping me safe.»

In Goodbye Julia, the first film from Sudan to run at Cannes, Mohamed Kordofani portrays the racist hierarchy from North to South as gripping drama of domestic life. The mundane set-up encapsulates a whole society’s political fate and reveals the skill of a filmmaker who never went to film school.

Germany takes pride in its memory culture. But its often self-congratulatory remembrance rituals have many blind spots. One of them is the network of international solidarity that the GDR was part of. Echos of the Brother Countries, an exhibition at HKW Berlin, allows for a closer look.

Kids these days flock to raves as if they were the latest incarnation of transcendence, but what about the political economy that squeezes profit out of every last pocket of subculture? McKenzie Wark and Hannah Baer on raving during a pandemic, late in life, and its ambivalent politics.

Letters are not quite a thing of the past; as a literary device they’re perfectly alive to open some doors and keep others shut. In current works by Adam Thirlwell, Ridley Scott and Maïwenn, letters trigger different yet eerily similar gendered fantasies about who is entrusted to write them and why.