Recent critiques of “presentism” fail to see that we can’t divorce the past from the present—and that supposedly objective scholarship has long promoted racist narratives and suppressed Black history.

A handful of companies control the web. It doesn’t have to be that way.

In Amazon’s take on The Lord of the Rings, the hero is a fanatic, ceaselessly seeking out potential threats.

Steven Thrasher’s new book examines how society makes people vulnerable to viruses and blames them for it.

Sorokin’s novels do not “say” anything about Russia today.

Danger surrounded Freud in Nazi-occupied Austria. Why did it take him so long to see it?

The internet demands that women project desirability—at a level formerly reserved for movie stars.

Felix Frankfurter warned that politicians, not the courts, should make policy.

In the 1960s, a British researcher launched one of the largest ever studies of people who believed they could see the future.

The United Kingdom has given a range of financial crimes a sheen of respectability.

On loving and loathing some of America’s most common public spaces

His vision of a tech-optimized future inspired a generation. But his true talent was for burnishing his own image.

“Knocking Myself Up” defies the conventional wisdom that pregnancy and parenthood are exhausting, expensive, and full of drudgery.

Bari Weiss and other self-anointed defenders of free speech used the author’s stabbing to accuse the left of rhetorical excess—and ignored the very relevant scourge of book-banning by the American right.

Rushdie’s vision of desi identity, unrestrained by colonialism and above the fray of sectarian cant, should inspire us as he recovers from his wounds.

Salman Rushdie has spent decades campaigning for free speech. The attempt on his life came amid a crack down on freedom of expression around the world.

CJ Hauser’s essay on an ill-fated love went viral. But there’s more than one way to see the story.

Walter Russell Mead’s new book shows the United States’ relationship with Israel has always been self-involved and opportunistic.

Daisy Pitkin’s memoir “On the Line” documents acts of heroism and solidarity, as well as the grueling personal toll of a life in organizing.

“Sharp Stick” has all the hallmarks of a Dunham production. That’s the problem.