Liner notes for Warner Brothers re-release of Uncle Tupelo’s Anodyne It’s October 1993. The Midwest’s biggest deluge in almost 200 years ...

These are the liner notes I wrote for the Rhino reissue of R.E.M.’s New Adventures in Hi-Fi in 2005. After more than a decade of graduall...

These are liner notes published with the Sony Legacy rerelease of Uncle Tupelo's No Depression. WITNESS TO THE REVOLUTION Uncle Tupelo’s ...

One of the most popular posts on Balkans via Bohemia was a piece I wrote back in 2009 in response to a Slate piece by Timothy Noah that m...

The world knows the town of Dachau because of the horrors of the Nazi death camp there. Created in 1933, Dachau was the first of these co...

I didn’t want a dog. There were lots of reasons for that from childhood I won’t get into here. But in 2005, after I got married, I was pe...

One of the deeper layers of Jiří Kolář (1914-2002): Forms of Visual Poetry, now showing at the American University Museum at the Katzen Arts

This entry is the first in a continuing series of appreciations of work I find interesting as a playwright. They are not reviews, though ...

The personal essay in Helmsley’s hands becomes an often-understated but relentless self-interrogation, never veering into self-pity or mythm

John Strausbaugh has been a mentor and friend for 30 years now, so it's a delight to report that his new book -- City of Sedition: The Hi...

Back in the autumn of 1995, I was living in St. Louis and working at The Riverfront Times. ​ It was a strange time for me. I was in a dee...

Today on Vox, playwright Justin Sherin writes about the genesis of his @dick_nixon Twitter account. Read Sherin about it first. Then come...

​​ Balkans via Bohemia is moving house from Blogspot to my lovely new home page. No worries. The archive of Balkans via Bohemia can be ac...