Selected Reviews
1. The Afterlife of Images: Translating the Pathological Body Between China and the West (Duke, 2008).
“One of the great strengths of Heinrich’s outstandingly valuable and interesting book [The Afterlife of Images] is its disrespect for traditional chronological boundaries, and its willingness to think boldly about a range of images from the eighteenth to the twentieth century, all of which bear to a varying degree on the image of China as ‘the sick man of Asia’. The discourse presenting China as having visually ascertainable ailments is central to Heinrich’s argument. The extent to which this discourse is also the product of a distributed agency between Chinese and European (now also American and Japanese) actors is here worked out with great subtlety and power…[The Afterlife of Images] is a book that anyone interested in images and power in colonial visualities, indeed in the wider topic of the body in representation, would benefit from reading…This perceptive insight is typical of a work…which is exemplary in its serious engagement with a very wide range of images to open up discussion about the place of the body in Chinese visual culture in ways which are likely to be much cited and to prove very significant points of reference in the future.” -- Craig Clunas, Oxford University, Association of Art Historians (2009): 629-635.
“[The Afterlife of Images] is perhaps the most important contribution to the study of Chinese medical representation since Shigehisa Kuriyama’s brilliant The Expressiveness of the Body and the Divergence of Greek and Chinese Medicine...Heinrich’s argument is quite extraordinary: [he] wishes to illustrate how the rhetorical commonplace of ‘‘China as the sick man of Asia’’ is historically structured with the tension between Chinese high culture (including medicine) and Western claims on the inherent inferiority of that culture and Western superiority in all media of expression and representation.” -- Sander Gilman, Visual Resources, vol. 24:3 (2008), pp. 343-346.
“The great strengths of this book are the images themselves and Heinrich' s unique style of analysis. Heinrich points out that the study of medical illustration has often been neglected in the history of medicine, and this observation is particularly true with regard to China. Heinrich not only brings these previously neglected images to our attention but also deploys [his] skills as a literary studies scholar to reveal the rich cultural and historical conditions of their production and circulation.” -- Eric Karchmer, The China Journal, vol. 62 (2009).
“[In The Afterlife of Images] Heinrich draws on intellectual sources from various fields: the history of medicine, the history of science, visual cultural studies, critical theory, and literary studies. He weaves the diverse materials into a fascinating study of China in the nineteenth and early twentieth centuries. In short, The Afterlife of Images opens a new window through which scholars and students can see and debate how Western medicine and science participated in shaping modern Chinese conceptions of the body, the self, and the nation, as well as the Chinese imagination of modernity.” – Zhang Yanhua, China Review International, vol. 16, no. 3 (2009), pp. 344–47.
“[T]he effect of the book is remarkable, and The Afterlife of Images achieves its larger goals of pushing analysis of images to the forefront of the historical agenda, challenging us to look beyond written sources for the origins of the discourse of China’s pathology.” -- David Luesink, China Perspectives, vol. 1 (2010).
“After The Afterlife of Images, scholars of modern Chinese history will be compelled to look upon medical images with fresh eyes, and from a multitude of angles.” -- Ruth Rogaski, The Journal of Asian Studies, Vol. 68, no. 2 (May, 2009), pp. 597-599.
“[The Afterlife of Images] is perhaps the most important contribution to the study of Chinese medical representation since Shigehisa Kuriyama’s brilliant The Expressiveness of the Body and the Divergence of Greek and Chinese Medicine...Heinrich’s argument is quite extraordinary: [he] wishes to illustrate how the rhetorical commonplace of ‘‘China as the sick man of Asia’’ is historically structured with the tension between Chinese high culture (including medicine) and Western claims on the inherent inferiority of that culture and Western superiority in all media of expression and representation.” -- Sander Gilman, Visual Resources, vol. 24:3 (2008), pp. 343-346.
“The great strengths of this book are the images themselves and Heinrich' s unique style of analysis. Heinrich points out that the study of medical illustration has often been neglected in the history of medicine, and this observation is particularly true with regard to China. Heinrich not only brings these previously neglected images to our attention but also deploys [his] skills as a literary studies scholar to reveal the rich cultural and historical conditions of their production and circulation.” -- Eric Karchmer, The China Journal, vol. 62 (2009).
“[In The Afterlife of Images] Heinrich draws on intellectual sources from various fields: the history of medicine, the history of science, visual cultural studies, critical theory, and literary studies. He weaves the diverse materials into a fascinating study of China in the nineteenth and early twentieth centuries. In short, The Afterlife of Images opens a new window through which scholars and students can see and debate how Western medicine and science participated in shaping modern Chinese conceptions of the body, the self, and the nation, as well as the Chinese imagination of modernity.” – Zhang Yanhua, China Review International, vol. 16, no. 3 (2009), pp. 344–47.
“[T]he effect of the book is remarkable, and The Afterlife of Images achieves its larger goals of pushing analysis of images to the forefront of the historical agenda, challenging us to look beyond written sources for the origins of the discourse of China’s pathology.” -- David Luesink, China Perspectives, vol. 1 (2010).
“After The Afterlife of Images, scholars of modern Chinese history will be compelled to look upon medical images with fresh eyes, and from a multitude of angles.” -- Ruth Rogaski, The Journal of Asian Studies, Vol. 68, no. 2 (May, 2009), pp. 597-599.
2. Queer Sinophone Cultures, Ari Larissa Heinrich and Howard Chiang, eds. (London: Routledge, 2013).
“In his articulate and useful introduction to Queer Sinophone Studies, Ari Larissa Heinrich outlines the plusses of bringing queer studies and Sinophone studies into conjunction, specifically how this move can bring to light explorations of non-normative genders and sexualities and their evolutions within quite varied Sinitic cultures.” -- Maud Lavin, Intersections: Gender and Sexuality in Asia and the Pacific, Issue 36, September (2014).
3. Last Words from Montmartre, by Qiu Miaojin, translated from the Chinese and with an Afterword by Ari Larissa Heinrich (New York Review Books, 2014).
“Ari Larissa Heinrich’s exquisite translation of Qiu Miaojin’s Last Words from Montmartre brings to English-speaking audiences a masterpiece of Chinese-language literature that is at once a cultural milestone, a riveting tale, and a philosophical manifesto on the reflective pursuit of the self. Scholars of comparative literary modernism, gender/sexuality studies, and modern Chinese history will be eager to teach this powerful text, for which we are indebted to Heinrich…The novel’s real achievements lie in its literary value—its lyrical and dazzling prose, its complex emotional grammar, and its philosophical insights—all of which Heinrich renders with brilliance and subtlety…Translating Qiu’s experimental work—a work that consciously explores and exploits linguistic oddities in Chinese while fusing French, English, and Japanese influences—poses many challenges, but Heinrich always comes up with creative solutions that are both elegant in English and faithful to Qiu’s original mind. Both Qiu and Heinrich are master wordsmiths, and the product of their labor is a literary achievement of the rarest kind.” – Petrus Liu, Modern Chinese Literature and Culture (2015).
“I think this is one of the most powerful testaments of rewriting or repositioning what immigration is on a global scale…I love this book because it…pushes creativity and innovation at the center, that immigrants are not just victims who are trying to get by, they are active agents in their own life.” -- Ocean Vuong, National Public Radio Book Reviews.
“I’d put Last Words in a category that includes much of Kathy Acker and Henry Miller. [Gertrude] Stein, too. Their goals were very different, but what they made was art with a demonstration in mind more than narrative pleasure.” -- Eileen Myles, Book Forum (June-August, 2014).
“Echoing W.B. Yeats’s formulation, ‘only an aching heart/Creates a changeless work of art’, the narrator believes that greatness is only achieved “’if the artist has suffered through profound tragedy and death’. We must thank Qiu’s skilful translator, Ari Larissa Heinrich, for bringing this study of anguish from the Chinese into English. ‘Only a spirit of artistic sincerity can console the souls of humankind’, writes the narrator as her suicide nears. Readers of Last Words from Montmartre may agree. But who will console the artist?” -- Michael Lapointe, Times Literary Supplement, London, 24 September 2014.
“Ari Larissa Heinrich…does honor to the tradition of the scholar-translator. He is familiar enough with Qiu's work and influences to make good use of the corresponding English idiolects: Sylvia Plath, Kathy Acker, Hélène Cixous's "The Laugh of the Medusa" as translated by Keith Cohen and Paula Cohen, Jean Genet as translated by Bernard Frechtman…Thanks to Heinrich's skill and judgment, Qiu's passion is as overwhelming and relentless a force in translation as in the original.” -- Dylan Suher, Asymptote Journal, 2014.
“Ari Larissa Heinrich’s translation is so skilful because he is able to understand Qiu as an artist, including all her tiny nuances, and her importance as an artistic figure, which he so aptly addresses in his Afterword.” -- Monica Carter, judge, Best Translated Literature Awards, on “Why This Book Should Win.” April 2015.
“[A] flawless translation.” -- Josh Stenberg, University of Sydney, World Literature Today, 2015.
“I think this is one of the most powerful testaments of rewriting or repositioning what immigration is on a global scale…I love this book because it…pushes creativity and innovation at the center, that immigrants are not just victims who are trying to get by, they are active agents in their own life.” -- Ocean Vuong, National Public Radio Book Reviews.
“I’d put Last Words in a category that includes much of Kathy Acker and Henry Miller. [Gertrude] Stein, too. Their goals were very different, but what they made was art with a demonstration in mind more than narrative pleasure.” -- Eileen Myles, Book Forum (June-August, 2014).
“Echoing W.B. Yeats’s formulation, ‘only an aching heart/Creates a changeless work of art’, the narrator believes that greatness is only achieved “’if the artist has suffered through profound tragedy and death’. We must thank Qiu’s skilful translator, Ari Larissa Heinrich, for bringing this study of anguish from the Chinese into English. ‘Only a spirit of artistic sincerity can console the souls of humankind’, writes the narrator as her suicide nears. Readers of Last Words from Montmartre may agree. But who will console the artist?” -- Michael Lapointe, Times Literary Supplement, London, 24 September 2014.
“Ari Larissa Heinrich…does honor to the tradition of the scholar-translator. He is familiar enough with Qiu's work and influences to make good use of the corresponding English idiolects: Sylvia Plath, Kathy Acker, Hélène Cixous's "The Laugh of the Medusa" as translated by Keith Cohen and Paula Cohen, Jean Genet as translated by Bernard Frechtman…Thanks to Heinrich's skill and judgment, Qiu's passion is as overwhelming and relentless a force in translation as in the original.” -- Dylan Suher, Asymptote Journal, 2014.
“Ari Larissa Heinrich’s translation is so skilful because he is able to understand Qiu as an artist, including all her tiny nuances, and her importance as an artistic figure, which he so aptly addresses in his Afterword.” -- Monica Carter, judge, Best Translated Literature Awards, on “Why This Book Should Win.” April 2015.
“[A] flawless translation.” -- Josh Stenberg, University of Sydney, World Literature Today, 2015.
4. Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Duke, 2018).
“Having established himself as an authority on the visual cultural history of Chinese anatomy, [with Chinese Surplus] Ari Larissa Heinrich has written another tour de force…A compelling account of how the aesthetics of corporeal politics has come to condition the rhetorics and epistemologies of life, realism, existence, authenticity, technology, reproduction, and the body itself, Chinese Surplus will forever change the way we think about the power of visual embodiment in an age of increasing angst over property/propriety rights, technological determinism, and human’s role in their imbricated historical legacy.” -- Howard Chiang, Journal of the History of Biology, 2018.
“Heinrich’s project does the ground-breaking work of connecting the global power dynamics of contemporary cultural productions engaged with fragmentation and labelled inauthentic with longer histories of imperialism…Heinrich reveals how the cultural politics of aesthetic production is integral to understanding the wide-ranging ramifications of biotechnical developments. Reaching beyond the sociocultural, technoscientific, and aesthetic as bounded categories of analysis, Heinrich’s work [shows] how methods and frameworks from different disciplines can illuminate conversations in and between one another, until perhaps one day these boundaries will no longer be so taken for granted.” -- Kathryn Cai, Catalyst: Feminism, Theory, Technoscience, Vol. 5 No. 2 (2019).
"[Chinese Surplus is] cutting-edge research on the biopolitical aesthetics of the highly commodified form of the human body as a biomaterial in contemporary global cultural and medical markets. Its surplus value overflows from conventional literary, art, and film studies into medical humanities.” -- Howard Choy, Modern Chinese Literature and Culture Resource Center, April 2020.
“[Chinese Surplus] aims to perform the function of the pair of sunglasses in the 1980s cult classic They Live— a pair of glasses that reveal the true ideological messages of the everyday world we inhabit. The book is ultimately convincing that to understand the objectification and commodification of ‘real’ human bodies in China today, we must also pay attention to the ways in which biopolitical aesthetics condition both those bodies and the representations of bodies.” -- David Luesink, East Asian Science, Technology and Society: An International Journal, vol. 14 (2020), pp. 1–4. DOI 10.1215/18752160-8539965.
“To view ‘cadaver art’ and new millennial Hong Kong films about organ transplant solely through ethics—Is this right? Are these bodies and transplantations of body parts human rights abuses?—is to miss the global and transnational processes of commodification and medicalization that in turn shape Chinese identity. [In Heinrich’s Chinese Surplus] Heinrich shows us the differing responses to cadaver art circulated among Western and Chinese media, revealing that the former obscure race and racial identity in the service of a transhistorical, Western notion of the human, while the latter focus on these figures as representative of the composite nature of contemporary ‘Chineseness’.” -- Tita Chico, The Year's Work in Critical and Cultural Theory, Volume 27, Issue 1, 2019, Pages 22–41.
“Heinrich [reflects] on questions of intellectual property rights and the implications of being able to copyright (parts of) the human body, together with what it might mean ‘to recognize the body as an archive’...[Chinese Surplus] offers a way of thinking about what it might mean to unlock this virtual archive, and the Pandora’s box that it represents.” -- Carlos Rojas, China Information, February 14, 2019.
“Heinrich’s project does the ground-breaking work of connecting the global power dynamics of contemporary cultural productions engaged with fragmentation and labelled inauthentic with longer histories of imperialism…Heinrich reveals how the cultural politics of aesthetic production is integral to understanding the wide-ranging ramifications of biotechnical developments. Reaching beyond the sociocultural, technoscientific, and aesthetic as bounded categories of analysis, Heinrich’s work [shows] how methods and frameworks from different disciplines can illuminate conversations in and between one another, until perhaps one day these boundaries will no longer be so taken for granted.” -- Kathryn Cai, Catalyst: Feminism, Theory, Technoscience, Vol. 5 No. 2 (2019).
"[Chinese Surplus is] cutting-edge research on the biopolitical aesthetics of the highly commodified form of the human body as a biomaterial in contemporary global cultural and medical markets. Its surplus value overflows from conventional literary, art, and film studies into medical humanities.” -- Howard Choy, Modern Chinese Literature and Culture Resource Center, April 2020.
“[Chinese Surplus] aims to perform the function of the pair of sunglasses in the 1980s cult classic They Live— a pair of glasses that reveal the true ideological messages of the everyday world we inhabit. The book is ultimately convincing that to understand the objectification and commodification of ‘real’ human bodies in China today, we must also pay attention to the ways in which biopolitical aesthetics condition both those bodies and the representations of bodies.” -- David Luesink, East Asian Science, Technology and Society: An International Journal, vol. 14 (2020), pp. 1–4. DOI 10.1215/18752160-8539965.
“To view ‘cadaver art’ and new millennial Hong Kong films about organ transplant solely through ethics—Is this right? Are these bodies and transplantations of body parts human rights abuses?—is to miss the global and transnational processes of commodification and medicalization that in turn shape Chinese identity. [In Heinrich’s Chinese Surplus] Heinrich shows us the differing responses to cadaver art circulated among Western and Chinese media, revealing that the former obscure race and racial identity in the service of a transhistorical, Western notion of the human, while the latter focus on these figures as representative of the composite nature of contemporary ‘Chineseness’.” -- Tita Chico, The Year's Work in Critical and Cultural Theory, Volume 27, Issue 1, 2019, Pages 22–41.
“Heinrich [reflects] on questions of intellectual property rights and the implications of being able to copyright (parts of) the human body, together with what it might mean ‘to recognize the body as an archive’...[Chinese Surplus] offers a way of thinking about what it might mean to unlock this virtual archive, and the Pandora’s box that it represents.” -- Carlos Rojas, China Information, February 14, 2019.
5. The Membranes, by Chi Ta-wei, translated and with an Afterword by Ari Larissa Heinrich (Columbia University Press, 2021).
“Chi’s extraordinary novella was first published in Taiwan a quarter of a century ago, and is at last available in English in a brilliant translation by Ari Larissa Heinrich.” – Chris Littlewood, The Paris Review.
“English readers who finish it now, 25 years after it was first published, may regret finding it so late, and missing out on all the stories and selves we could have been, even as it seems like it’s been here the whole time. A new story is a new skin; Momo makes you ask who or when you’ll be once you finish this one…Translator Ari Larissa Heinrich, in a very helpful afterward, explains that The Membranes was written after Taiwan’s military dictatorship had lifted — a time when people suddenly had access to films, literature, philosophy and culture from Europe, America and Japan.” – Noah Berlatsky, “What a queer Taiwanese 1995 sci-fi novel got right about the future”, Los Angeles Times.
“Inventive and prescient, the novel is also a triumph for its translator, Ari Larissa Heinrich, a professor of Chinese literature and media at the Australian National University.” – Declan Fry, ABC News Australia, “Best New Books to Read in July.”
“Unless the author’s a household name, like Haruki Murakami or Elena Ferrante, even a great book is likely to wait years for translation. A good translation is painstaking, probing meaning and idioms, and remains the work of human hands and minds. And there needs to be a will: to choose the book, to take on the work. Chi Ta- Wei’s The Membranes was first published in Taiwan in 1996; it only arrives in English in 2021, a quarter-century later…[but] The Membranes feels relevant, even urgent.” – Annette Lapointe, New York Journal of Books.
“One of the books I most enjoyed this year was Ta-wei Chi’s The Membranes…I especially appreciated Ari Larissa Heinrich’s afterword, which describes the unique moment in Taiwanese history out of which The Membranes emerged and offers insightful analysis of Chi’s influences and preoccupations.” – Rachel Cordasco, “The Best Translated Books of 2021,” Words Without Borders.
“First published in Taiwan in 1995, The Membranes is a classic of queer speculative fiction in Chinese—one that is, with this agile translation from Ari Larissa Heinrich, accessible to an English-language readership for the first time. As part of Columbia University Press’s “Modern Chinese Literature from Taiwan” series, this edition of the novel also comes with an excellent afterword [by Heinrich] titled ‘Promiscuous Literacy: Taipei Punk and the Queer Future of The Membranes.’ The short essay conversationally explores the time and place that Chi Ta- Wei was writing from, an explosion of artistic and cultural development in mid-90’s Taiwan after the end of martial law—and reflects on what it’s like to read the book now, twenty-five years later.” – Lee Mandelo, Tor.com.
“The full richness of The Membranes can't be conveyed without giving way too much away; so too translator Ari Larissa Heinrich doesn't offer an introduction but rather saves up discussion for the end, in a thorough afterword-essay…The Membranes is an exceptionally well-conceived and turned science fiction story. Deceptively simple-looking on the surface, it is a truly impressive piece of work.” – Michael Orthofer, The Complete Review.
“Despite the serious themes explored in The Membranes, Chi’s story—and translator Ari Larissa Heinrich’s prose—never feel weighed down with didacticism or overly preoccupied with asking the “big questions”. Instead, the story is meticulously crafted to lead the reader to those questions of their own accord through a gentle crescendo of revelations about Momo and her life.” – Aoife Cantrill, Asian Review of Books.
“The Membranes [is] a unique work of queer speculation, critical futurism, and cyber-psychology, superbly and lucidly translated into English by Ari Larissa Heinrich.” -- Astrid Møller-Olsen, Xiaoshuo blog.
“Thanks to Ari Larissa Heinrich’s seamless translation and contextual essay at the end, readers can better appreciate The Membranes and its place in late twentieth-century Taiwanese speculative fiction. We can also read the novella in the context of other twentieth-century novels and stories from around the world about the ethical questions involved in humans receiving replacement organs (from clones, cyborgs, etc.), including Gheorghe Păun’s “Prosthesosaurs,” Darrieussecq’s “Our Life in the Forest,” and Homqvist’s “The Unit.” Ultimately, though, The Membranes can stand on its own as a pitch-perfect meditation on medical advances, transplantation, advanced technology, loneliness, memory, and love.” – Rachel Cordasco, Strange Horizons.
"[W]hat I found most exciting about this edition of The Membranes was the postscript essay on the Taiwanese literary scene, something I had known literally nothing about beforehand. I’m super into literary biography and cultural history, it’s the kind of writing that really gets me excited." - Scott Manley Hadley, The Triumph of the Now.
“English readers who finish it now, 25 years after it was first published, may regret finding it so late, and missing out on all the stories and selves we could have been, even as it seems like it’s been here the whole time. A new story is a new skin; Momo makes you ask who or when you’ll be once you finish this one…Translator Ari Larissa Heinrich, in a very helpful afterward, explains that The Membranes was written after Taiwan’s military dictatorship had lifted — a time when people suddenly had access to films, literature, philosophy and culture from Europe, America and Japan.” – Noah Berlatsky, “What a queer Taiwanese 1995 sci-fi novel got right about the future”, Los Angeles Times.
“Inventive and prescient, the novel is also a triumph for its translator, Ari Larissa Heinrich, a professor of Chinese literature and media at the Australian National University.” – Declan Fry, ABC News Australia, “Best New Books to Read in July.”
“Unless the author’s a household name, like Haruki Murakami or Elena Ferrante, even a great book is likely to wait years for translation. A good translation is painstaking, probing meaning and idioms, and remains the work of human hands and minds. And there needs to be a will: to choose the book, to take on the work. Chi Ta- Wei’s The Membranes was first published in Taiwan in 1996; it only arrives in English in 2021, a quarter-century later…[but] The Membranes feels relevant, even urgent.” – Annette Lapointe, New York Journal of Books.
“One of the books I most enjoyed this year was Ta-wei Chi’s The Membranes…I especially appreciated Ari Larissa Heinrich’s afterword, which describes the unique moment in Taiwanese history out of which The Membranes emerged and offers insightful analysis of Chi’s influences and preoccupations.” – Rachel Cordasco, “The Best Translated Books of 2021,” Words Without Borders.
“First published in Taiwan in 1995, The Membranes is a classic of queer speculative fiction in Chinese—one that is, with this agile translation from Ari Larissa Heinrich, accessible to an English-language readership for the first time. As part of Columbia University Press’s “Modern Chinese Literature from Taiwan” series, this edition of the novel also comes with an excellent afterword [by Heinrich] titled ‘Promiscuous Literacy: Taipei Punk and the Queer Future of The Membranes.’ The short essay conversationally explores the time and place that Chi Ta- Wei was writing from, an explosion of artistic and cultural development in mid-90’s Taiwan after the end of martial law—and reflects on what it’s like to read the book now, twenty-five years later.” – Lee Mandelo, Tor.com.
“The full richness of The Membranes can't be conveyed without giving way too much away; so too translator Ari Larissa Heinrich doesn't offer an introduction but rather saves up discussion for the end, in a thorough afterword-essay…The Membranes is an exceptionally well-conceived and turned science fiction story. Deceptively simple-looking on the surface, it is a truly impressive piece of work.” – Michael Orthofer, The Complete Review.
“Despite the serious themes explored in The Membranes, Chi’s story—and translator Ari Larissa Heinrich’s prose—never feel weighed down with didacticism or overly preoccupied with asking the “big questions”. Instead, the story is meticulously crafted to lead the reader to those questions of their own accord through a gentle crescendo of revelations about Momo and her life.” – Aoife Cantrill, Asian Review of Books.
“The Membranes [is] a unique work of queer speculation, critical futurism, and cyber-psychology, superbly and lucidly translated into English by Ari Larissa Heinrich.” -- Astrid Møller-Olsen, Xiaoshuo blog.
“Thanks to Ari Larissa Heinrich’s seamless translation and contextual essay at the end, readers can better appreciate The Membranes and its place in late twentieth-century Taiwanese speculative fiction. We can also read the novella in the context of other twentieth-century novels and stories from around the world about the ethical questions involved in humans receiving replacement organs (from clones, cyborgs, etc.), including Gheorghe Păun’s “Prosthesosaurs,” Darrieussecq’s “Our Life in the Forest,” and Homqvist’s “The Unit.” Ultimately, though, The Membranes can stand on its own as a pitch-perfect meditation on medical advances, transplantation, advanced technology, loneliness, memory, and love.” – Rachel Cordasco, Strange Horizons.
"[W]hat I found most exciting about this edition of The Membranes was the postscript essay on the Taiwanese literary scene, something I had known literally nothing about beforehand. I’m super into literary biography and cultural history, it’s the kind of writing that really gets me excited." - Scott Manley Hadley, The Triumph of the Now.