Portside

Fifteen years after she slammed the door, Nora returns to Torvald’s house as the Betty Friedan of 19th-century Norway. As created by Laurie Metcalf from the script by Lucas Hnath, she is smart, witty, sarcastic, tough and likely to make women cheer. I did!

The poet Jamaica Baldwin writes, “This piece was written in response to the daily lies espoused by the new president and his administration, the emergence of the phrase ‘alternative fact’ in the political lexicon, and the simple fact of Trump’s presidency.”

Piketty's radical and largely on-target critique of contemporary capitalism, the reviewer says, was mostly greeted with hostility by the economics establishment, when not simply ignored, stonewalling Capital in the Twenty-First Century, so it would not have the impact on economics research agendas that it merits, particularly in explaining inequality — in effect a dead zone in mainstream economic analysis. The reviewer thinks much can be gleaned from Piketty's work.

This new collection of essays offers an interesting glimpse into the work of this consistently interesting Marxist thinker and cultural critic.

The story of activists who opposed the wars in Iraq and Afghanistan, including their lives, the tactics they used, and the historical context. ‘The Activists,’ explores lessons the anti-war movement has to offer people fighting Trump today.

For many in Mexico, cacao is more than just a bean. In its preparation, there is resistance, memory, rituals, identity, and friends and family

The system that the Hulu series operates within shows there were laws to protect property, but not women and certainly not sex workers.

He said, she said: The effects of sexual exploitation of women on campus depends on the credibility of one's point of view. Francesca Bell's poem "Committee Work" unveils this not-so-delicate dialogue.

If anyone doubted Black Americans still today suffer unfairly from incarceration rates and other horrific inequities out of all proportion to their numbers in the population, the case was closed by Michelle Alexander in her masterly The New Jim Crow (2010). Comes now James Forman Jr., to argue convincingly that key sections of the black community themselves abetted the criminalizing of black youths in a misguided effort to make so-called law and order work for them.

Risk is an incredibly gripping work, one made with an unprecedented level of access to Assange, but for all its intimacy, it still struggles to nail down its target. Instead, it’s more a story of Poitras herself, and the evolution of the movie she set out to make about Assange, who founded Wikileaks in 2006.