Adam Golaski grew up reading Jay McInerney and wanting to walk in his shoes. In How It Ended, those soles are a little scuffed.

John Taggart’s most recent book, There Are Birds, might net him a wider audience, thanks to a personal touch in those trademark cadences. Adam Golaski guides us into Taggart’s songlike sonorities.

Swan Peak, by James Lee Burke

Contributing Editor Adam Golaski gives us his most recent installment of his gorgeous and heart-racing translation of one of English’s oldest poems Sir Gawain and the Green Knight.

Open Letters continues its serialization of Adam Golaski’s innovative translation of Sir Gawain and the Green Knight with this, the fourth installment.

Open Letters continues its serialization of Adam Golaski’s innovative translation of Sir Gawain and the Green Knight with this, the third installment.

Open Letters continues its serialization of Adam Golaski’s innovative translation of Sir Gawain and the Green Knight with this, the second installment.

Open Letters presents the first of many installments of Adam Golaski’s innovative new translation of Sir Gawain and the Green Knight, a serialization.

Uncanny Bodies identifies an early affinity between talking pictures and the horror genre. Adam Golaski finds this chillingly true, but sees Robert Spadoni as the wrong man to explain it.

In this regular feature, Adam Golaski revisits Intelligent Dance (or “laptop”) Music, discovering unity and poise in a Squarepusher album which critics have short-sightedly misfiled.

Adam Golaski reviews Zeitgeist, the newest from the iconic band whose members are always changing and whose bickering and misery is our gain.

Adam Golaski champions the “difficult read” in his review of the poetry of a. rawlings, Christian Bök, and Nathalie Stephens.

In this monthly feature, Adam Golaski resurrects the poetry of Paul Hannigan in all its acerbic and ominous brilliance