Reading Room

Reading Room is a community of book clubs and writing groups that regularly meet up to discuss literature, film and their own work.

On our shelves

Moby-Dick - Herman Melville, Gravity's Rainbow - Thomas Pynchon, The Odyssey - Homer, The Iliad - Homer, Paradise Regained - John Milton, Selected Poems - Samuel Taylor Coleridge, Frankenstein - Mary Shelley, The Elementary Particles - Michel Houellebecq, The Burnout Society - Byung-Chul Han, Psychopolitics - Byung-Chul Han, Pure Colour - Sheila Heti, The Holy Bible - Various, The Prince - Niccolò Machiavelli, Yoga - Emmanuel Carrère, Glamorama - Bret Easton Ellis, Sex, Art, and American Culture - Camille Paglia, Man and His Symbols - C.G. Jung, Three Essays on the Theory of Sexuality - Sigmund Freud, Introductory Lectures on Psychoanalysis - Sigmund Freud, Civilization and Its Discontents - Sigmund Freud, Selfie, Suicide - Sean Thor Conroe, Ecce Homo - Friedrich Nietzsche, Evolution and Conversion - René Girard, Bronze Age Mindset - Bronze Age Pervert, The Gay Science - Friedrich Nietzsche, Things Hidden Since the Foundation of the World - René Girard, Violence and the Sacred - René Girard, I See Satan Fall Like Lightning - René Girard, The Minimal Self - Christopher Lasch, The Revolt of the Elites and the Betrayal of Democracy - Christopher Lasch, Play It As It Lays - Joan Didion, Confessions of a Mask - Yukio Mishima, Free Women, Free Men - Camille Paglia, Fuccboi - Sean Thor Conroe, The Culture of Narcissism - Christopher Lasch, Capitalist Realism - Mark Fisher, Living in the End Times - Slavoj Žižek, K-punk - Mark Fisher, Slouching Towards Bethlehem - Joan Didion, Less Than Zero - Bret Easton Ellis, Violet Bent Backwards Over the Grass - Lana Del Rey, Sexual Personae - Camille Paglia, The Red Book - C.G. Jung, The Rules of Attraction - Bret Easton Ellis, Memories, Dreams, Reflections - C.G. Jung, A Return to Love - Marianne Williamson, Vamps & Tramps - Camille Paglia, The Machiavellians - James Burnham, White - Bret Easton Ellis, Submission - Michel Houellebecq, Serotonin - Michel Houellebecq, Platform - Michel Houellebecq, Sleeveless - Natasha Stagg, The Black Books - C.G. Jung, The White Album - Joan Didion, Essays and Aphorisms - Arthur Schopenhauer, Moby-Dick - Herman Melville, Gravity's Rainbow - Thomas Pynchon, The Odyssey - Homer, The Iliad - Homer, Paradise Regained - John Milton, Selected Poems - Samuel Taylor Coleridge, Frankenstein - Mary Shelley, The Elementary Particles - Michel Houellebecq, The Burnout Society - Byung-Chul Han, Psychopolitics - Byung-Chul Han, Pure Colour - Sheila Heti, The Holy Bible - Various, The Prince - Niccolò Machiavelli, Yoga - Emmanuel Carrère, Glamorama - Bret Easton Ellis, Sex, Art, and American Culture - Camille Paglia, Man and His Symbols - C.G. Jung, Three Essays on the Theory of Sexuality - Sigmund Freud, Introductory Lectures on Psychoanalysis - Sigmund Freud, Civilization and Its Discontents - Sigmund Freud, Selfie, Suicide - Sean Thor Conroe, Ecce Homo - Friedrich Nietzsche, Evolution and Conversion - René Girard, Bronze Age Mindset - Bronze Age Pervert, The Gay Science - Friedrich Nietzsche, Things Hidden Since the Foundation of the World - René Girard, Violence and the Sacred - René Girard, I See Satan Fall Like Lightning - René Girard, The Minimal Self - Christopher Lasch, The Revolt of the Elites and the Betrayal of Democracy - Christopher Lasch, Play It As It Lays - Joan Didion, Confessions of a Mask - Yukio Mishima, Free Women, Free Men - Camille Paglia, Fuccboi - Sean Thor Conroe, The Culture of Narcissism - Christopher Lasch, Capitalist Realism - Mark Fisher, Living in the End Times - Slavoj Žižek, K-punk - Mark Fisher, Slouching Towards Bethlehem - Joan Didion, Less Than Zero - Bret Easton Ellis, Violet Bent Backwards Over the Grass - Lana Del Rey, Sexual Personae - Camille Paglia, The Red Book - C.G. Jung, The Rules of Attraction - Bret Easton Ellis

On our letterboxed

Blue Bridge - Martin Scorsese, Great Garden - Jordan Peele, Last Summer - Wong Kar-wai, Open Wind - Lynne Ramsay, Slow Sky - Apichatpong Weerasethakul, Empty Waves - Ari Aster, Silent Harbor - Bong Joon-ho, Black Bridge - Martin Scorsese, Great Winter - Terrence Malick, Secret Summer - Claire Denis, Open Rain - Lynne Ramsay, Wild Sky - Claire Denis, Empty Hours - Lynne Ramsay, Blue Harbor - Wim Wenders, Black Garden - Martin Scorsese, Last Garden - Wim Wenders, Last Summer - Martin Scorsese, Open Road - Lynne Ramsay, Golden City - Apichatpong Weerasethakul, Lost Waves - Lynne Ramsay, Silent Harbor - Apichatpong Weerasethakul, Black Winter - Martin Scorsese, Secret Night - Terrence Malick, Bright Summer - Martin Scorsese, Open Rain - Terrence Malick, Wild City - Céline Sciamma, Lost Train - Ari Aster, Small Harbor - Wim Wenders, Black Garden - Martin Scorsese, Last Night - Céline Sciamma, Bright Road - Ari Aster, Golden Wind - Wim Wenders, Slow Sky - Martin Scorsese, Empty Waves - Ari Aster, Silent Harbor - Bong Joon-ho, Black Wind - Martin Scorsese, Slow Sky - Terrence Malick, Empty Waves - Ari Aster, Silent Harbor - Bong Joon-ho, Black Sky - Martin Scorsese, Empty Hours - Terrence Malick, Blue Harbor - Wim Wenders, Black Garden - Martin Scorsese, Last Sky - Wim Wenders, Empty Hours - Martin Scorsese, Blue Harbor - Wim Wenders, Black Garden - Martin Scorsese, Last Waves - Wim Wenders, Silent Harbor - Martin Scorsese, Black Winter - Martin Scorsese, Secret Night - Terrence Malick, Bright Waves - Martin Scorsese, Silent Harbor - Terrence Malick, Black Winter - Martin Scorsese, Secret Night - Terrence Malick, Bright Harbor - Martin Scorsese, Black Garden - Terrence Malick, Last Night - Barry Jenkins, Bright Road - Hou Hsiao-hsien, Golden Harbor - Jonathan Glazer, Black Garden - Kelly Reichardt, Last Night - Richard Linklater, Bright Road - Pedro Almodóvar, Golden Train - Spike Lee, Small Spring - Sofia Coppola, Double Morning - Jordan Peele, Dark Fire - Wong Kar-wai, Cold Road - Lynne Ramsay, Golden City - Apichatpong Weerasethakul, Lost Island - Ari Aster, White Hotel - Bong Joon-ho, First Bridge - Martin Scorsese, Great Winter - Terrence Malick, Secret Summer - Jonathan Glazer, Open Rain - Kelly Reichardt, Wild Sky - Jonathan Glazer, Empty Hours - Kelly Reichardt, Blue Harbor - Spike Lee, Black Garden - Sofia Coppola, Last Morning - Spike Lee, Dark Fire - Sofia Coppola, Cold Hours - Lynne Ramsay, Blue Bridge - Apichatpong Weerasethakul, Great Island - Lynne Ramsay, White Hotel - Apichatpong Weerasethakul, First Wind - Martin Scorsese, Slow Sky - Terrence Malick, Empty Summer - Martin Scorsese, Open Rain - Terrence Malick, Wild City - Richard Linklater, Lost Train - Pedro Almodóvar, Small Harbor - Spike Lee, Black Garden - Sofia Coppola, Last Night - Richard Linklater, Bright Road - Pedro Almodóvar, Golden Road - Spike Lee, Golden City - Sofia Coppola, Lost Island - Ari Aster, White Hotel - Bong Joon-ho, First Road - Martin Scorsese

On rotation

In our Silver - Sufjan Stevens, Beyond a Glass - Agnes Obel, Before every Sky - Kendrick Lamar, On this Light - Fleet Foxes, Through my Dream - Caroline Polachek, Between some Line - Kate Bush, Under no Frame - LCD Soundsystem, Against my Stone - James Blake, Beyond a Glass - Agnes Obel, Under that Moon - James Blake, On this Light - Agnes Obel, Near the Drift - Big Thief, Between some Drift - Kate Bush, In our Frame - Big Thief, Against our Wire - Kate Bush, Before a Sea - Agnes Obel, Before our Sky - Kendrick Lamar, On a Light - Agnes Obel, Before my Line - Kendrick Lamar, On some Echo - Kate Bush, Under my Frame - LCD Soundsystem, Against some Stone - Kate Bush, Under a Sea - LCD Soundsystem, Against that Fever - Solange, On a Light - Fleet Foxes, Near that Drift - Big Thief, On some Echo - Kate Bush, Near our Wire - Solange, Against some Silver - Fleet Foxes, Before our Glass - Big Thief, Against every Sky - Kate Bush, Before this Light - Fleet Foxes, Through my Silver - Caroline Polachek, Between some Glass - Kate Bush, Under every Sky - LCD Soundsystem, Against this Light - Fleet Foxes, Through my Glass - Caroline Polachek, Between some Moon - Kate Bush, Under this Light - LCD Soundsystem, Against the Drift - Big Thief, Between some Glass - Kate Bush, In our Moon - Big Thief, Against this Light - Kate Bush, Before the Drift - Big Thief, Between some Sky - Kate Bush, In our Light - Big Thief, Against my Line - Kate Bush, Before some Echo - Kate Bush, Under my Sky - LCD Soundsystem, Against some Light - Kate Bush, Under my Line - LCD Soundsystem, Against some Echo - Kate Bush, Under my Light - LCD Soundsystem, Against some Drift - Kate Bush, Under some Echo - LCD Soundsystem, Against our Wire - Massive Attack, Against some Light - FKA twigs, Before our Drift - Nils Frahm, Against some Echo - Frank Ocean, Before our Wire - Julie Byrne, Against some Fever - Phoebe Bridgers, Before our Wave - PJ Harvey, Against that Pulse - Portishead, Before your Gold - Burial, Near the Wire - Sufjan Stevens, After no Sea - Agnes Obel, In our Haze - Kendrick Lamar, Beyond a Bloom - Fleet Foxes, Before every Dream - Caroline Polachek, On this Line - Kate Bush, Through no Frame - LCD Soundsystem, Between my Stone - Nils Frahm, Beyond a Glass - Frank Ocean, Under that Moon - Nils Frahm, On this Light - Frank Ocean, Near the Drift - PJ Harvey, Between some Pulse - Portishead, In our Gold - PJ Harvey, Against the Moon - Portishead, Before no Dream - Agnes Obel, In the Haze - Kendrick Lamar, Beyond no Bloom - Agnes Obel, In every Silver - Kendrick Lamar, Beyond this Glass - Kate Bush, Through every Frame - LCD Soundsystem, Between this Stone - Kate Bush, Through a Sea - LCD Soundsystem, Between that Fever - Julie Byrne, On a Light - Phoebe Bridgers, Near that Drift - PJ Harvey, On some Echo - Portishead, Near our Wire - Julie Byrne, Against some Wire - Phoebe Bridgers, Before our Sea - PJ Harvey, Against our Haze - Portishead, Before a Bloom - Fleet Foxes, Before every Wire - Caroline Polachek, On this Sea - Kate Bush, Through our Haze - LCD Soundsystem, Between a Bloom - Fleet Foxes

Curiosities

How has platform capitalism changed how culture circulates and who gets paid? How do we know when a question needs fieldwork rather than opinion? What assumptions about class are hidden in our taste judgments? What obligations do successful creatives have to their local scenes? How should we think about solidarity in an economy organized around freelancing? How do we know when a question needs fieldwork rather than opinion? What assumptions about class are hidden in our taste judgments? How should we think about refusal as a political and artistic practice? How does precarity shape ethical decision-making for young adults? When does a category illuminate, and when does it constrain? How do norms of politeness shape who feels authorized to speak? Can we still talk about a public sphere when discourse is fragmented by feeds? How do migration and diaspora reshape national literary traditions? When does a category illuminate, and when does it constrain? How do norms of politeness shape who feels authorized to speak? What does legitimacy mean for institutions after repeated trust failures? What does consent mean in data extraction economies? How do norms of politeness shape who feels authorized to speak? When should we retire a concept that no longer explains reality? How does climate anxiety reorganize life-planning for people under forty? How does language around trauma travel across generations and platforms? How do norms of politeness shape who feels authorized to speak? When should we retire a concept that no longer explains reality? What is the relationship between irony and political disaffection? What obligations do successful creatives have to their local scenes? What are fair standards for criticizing work made under scarcity? How do we frame a research question that is specific but not trivial? What is the moral status of piracy in unequal media markets? How should we think about refusal as a political and artistic practice? What does epistemic trust require between strangers in a room? How do we identify selection bias in our own reading lists? How do we define progress when younger cohorts expect lower living standards? How should we think about solidarity in an economy organized around freelancing? How should we evaluate sincerity claims in highly mediated environments? What methods help us read online discourse without overfitting to outrage? How should we think about refusal as a political and artistic practice? How should we think about solidarity in an economy organized around freelancing? How do we know when a question needs fieldwork rather than opinion? What assumptions about class are hidden in our taste judgments? How should we think about refusal as a political and artistic practice? How do migration and diaspora reshape national literary traditions? What makes a concept portable across disciplines without becoming vague? How do we decide if a framework is illuminating or fashionable? What does legitimacy mean for institutions after repeated trust failures? How do migration and diaspora reshape national literary traditions? What forms of expertise are undervalued in cultural debate? How do we teach analytical confidence without rewarding overconfidence? What does legitimacy mean for institutions after repeated trust failures? How does language around trauma travel across generations and platforms? How do we avoid treating trends as laws? What makes an interpretation elegant rather than merely novel? What is the relationship between irony and political disaffection? How does language around trauma travel across generations and platforms? How do norms of politeness shape who feels authorized to speak? When should we retire a concept that no longer explains reality? What is the relationship between irony and political disaffection? How should we think about refusal as a political and artistic practice? What does epistemic trust require between strangers in a room? How do we identify selection bias in our own reading lists? How do we define progress when younger cohorts expect lower living standards? How should we think about refusal as a political and artistic practice? What does epistemic trust require between strangers in a room? How do we identify selection bias in our own reading lists? How do we define progress when younger cohorts expect lower living standards? What is lost when every cultural object is optimized for discoverability? How do we know when a question needs fieldwork rather than opinion? What assumptions about class are hidden in our taste judgments? What does attention inequality look like across class, language, and geography? What does decolonizing a canon require in practice, not just in rhetoric? How do we know when a question needs fieldwork rather than opinion? What assumptions about class are hidden in our taste judgments? How should universities justify themselves beyond employability metrics? How does precarity shape ethical decision-making for young adults? What forms of expertise are undervalued in cultural debate? How do we teach analytical confidence without rewarding overconfidence? Can we still talk about a public sphere when discourse is fragmented by feeds? How do migration and diaspora reshape national literary traditions? What forms of expertise are undervalued in cultural debate? How do we teach analytical confidence without rewarding overconfidence? What does legitimacy mean for institutions after repeated trust failures? How do we avoid confusing virality with significance? How do norms of politeness shape who feels authorized to speak? When should we retire a concept that no longer explains reality? How do we separate expertise from credentialism? What does institutional accountability look like beyond apologies? How do norms of politeness shape who feels authorized to speak? When should we retire a concept that no longer explains reality? What can literary criticism learn from ethnography and fieldwork methods? What obligations do successful creatives have to their local scenes? What methods help us read online discourse without overfitting to outrage? How should we evaluate sincerity claims in highly mediated environments? What is the moral status of piracy in unequal media markets? How should we think about refusal as a political and artistic practice? What assumptions about class are hidden in our taste judgments? How do we know when a question needs fieldwork rather than opinion? How do we define progress when younger cohorts expect lower living standards? What does decolonizing a canon require in practice, not just in rhetoric? How do we infer causality in media effects without overclaiming? What methods help us read online discourse without overfitting to outrage? How should universities justify themselves beyond employability metrics?

Takes

The acknowledgements are the director's cut of the novel. | Spoilers for classics should require a permit and a small fine. | Close reading is just staring romantically at a paragraph until it confesses. | Reading on trains is a sport with no medals, only mild neck pain. | The syllabus is a playlist your professor made while caffeinated. | Radio luck is the original algorithm; it just had worse UI. | Controversial but true: the best bookmark is whatever is within arm's reach. | Dog-earing is not violence; it's a bookmark with commitment issues. | Beach reads can have footnotes. I don't make the rules; I break them politely. | Lending a book you love is a hostage negotiation with hope. | Alphabetical shelves are for people who trust order more than vibes. | Bedside stack height is a structural engineering problem I refuse to solve. | People misunderstand the second act on purpose; it's where the snacks live. | The real plot twist is that I thought I'd finish the group read on time. | Vinyl warmth is real; digital clarity is also real; peace treaty signed. | 4K restoration: for when you need to see every grain of someone's regret. | Reading challenges are marathons where the water station is tea. | Winter reading is summer reading wearing a jumper. | Bonus tracks are dessert; deluxe editions are dessert with extra dessert. | If you only read one essay this year, make it the one that makes you laugh mid-paragraph. | I organize by vibes because Dewey was not built for my anxiety. | Background listening is how albums audition for your actual life. | Novellas are novels that went to therapy and came back concise. | Organizing by height is skyline planning for introverts. | Track order optional is chaos; album order matters is law. | Controversial but true: the best bookmark is whatever is within arm's reach. | I came for the film, I stayed for the post-credits argument about pacing. | Shuffle mode is how the album tells you who is boss. | Poetry slams are karaoke for people who own turtlenecks. | Chaos shelves are democracy in wood form. | Waiting room reads are the only genre with built-in suspense. | Post-credits scenes are the film asking for one more hug. | Subtitles on, lights low, snacks mid — that's not a preference, it's a religion. | Hidden tracks were the original post-credits scene. | No scenes after credits is a trust fall I respect deeply. | Reading slumps are seasonal; blame the moon or daylight savings, not yourself. | The syllabus is a playlist your professor made while caffeinated. | Radio luck is the original algorithm; it just had worse UI. | Controversial but true: the best bookmark is whatever is within arm's reach. | Dog-earing is not violence; it's a bookmark with commitment issues. | Director's cuts are for people who thought the first cut lacked homework. | Coffee stains are the manuscript's way of saying 'I was there.' | Film clubs that pick three-hour films are training camps for bladders. | Repeat one is how you learn an album's secrets like a detective. | People misunderstand the second act on purpose; it's where the snacks live. | The real plot twist is that I thought I'd finish the group read on time. | Vinyl warmth is real; digital clarity is also real; peace treaty signed. | 4K restoration: for when you need to see every grain of someone's regret. | The canon is a group chat that got out of hand centuries ago. | Short books pretending to be long books are wearing platform shoes. | The discourse around running time is just group therapy with popcorn. | I don't have a type; I have a spine width preference. | I organize by vibes because Dewey was not built for my anxiety. | Background listening is how albums audition for your actual life. | Novellas are novels that went to therapy and came back concise. | Organizing by height is skyline planning for introverts. | Film Twitter refuses to acknowledge that running time is a feeling. | Nobody is ready for how good the index is until they need it. | Spoilers for classics should require a permit and a small fine. | DNF guilt is a tax on optimism. Pay quarterly. | Poetry slams are karaoke for people who own turtlenecks. | Chaos shelves are democracy in wood form. | Waiting room reads are the only genre with built-in suspense. | Post-credits scenes are the film asking for one more hug. | The friend who returns a book creased has chosen chaos; respect. | Finishing a bad book is a personality trait I am working on in therapy. | Audiobooks while walking: cardio for the legs, cinema for the brain. | The anti-canon is the group chat's edgy cousin who is also correct sometimes. | Streaming discovery is roulette with better cover art. | Nobody talks about how good it feels to close a book like a suitcase. | My TBR pile has tenure and a pension plan. | Year-end lists are just Spotify Wrapped for people who own highlighters. | Beach reads can have footnotes. I don't make the rules; I break them politely. | Lending a book you love is a hostage negotiation with hope. | Alphabetical shelves are for people who trust order more than vibes. | Bedside stack height is a structural engineering problem I refuse to solve. | People misunderstand the second act on purpose; it's where the snacks live. | The real plot twist is that I thought I'd finish the group read on time. | Vinyl warmth is real; digital clarity is also real; peace treaty signed. | 4K restoration: for when you need to see every grain of someone's regret. | Summer reading is just winter reading with better excuses. | Open matte is the film stretching after a nap. | Hot take: footnotes are just side quests for people who like homework. | The second-hand book smell is doing more emotional labour than I am. | Close reading is just staring romantically at a paragraph until it confesses. | Reading on trains is a sport with no medals, only mild neck pain. | Organizing by color is interior design for sentences. | One-star reviews are haiku written by people who needed a snack first. | Track order optional is chaos; album order matters is law. | Controversial but true: the best bookmark is whatever is within arm's reach. | I came for the film, I stayed for the post-credits argument about pacing. | Shuffle mode is how the album tells you who is boss. | Poetry slams are karaoke for people who own turtlenecks. | Chaos shelves are democracy in wood form. | Waiting room reads are the only genre with built-in suspense. | Post-credits scenes are the film asking for one more hug. | Shuffle mode is how the album tells you who is boss. | Mid-credits scenes are HR for your patience. | Reading challenges are marathons where the water station is tea. | Winter reading is summer reading wearing a jumper.

BOOKCLUBS

BC1

accepting new members

Reading

Gravity's Rainbow (1973)

Thomas Pynchon

Previous

  • Anna Karenina - Leo Tolstoy (1878)
  • Moby-Dick - Herman Melville (1851)
  • Middlemarch - George Eliot (1871)
  • The Brothers Karamazov - Fyodor Dostoevsky (1880)
  • Beloved - Toni Morrison (1987)
  • To the Lighthouse - Virginia Woolf (1927)
  • Pale Fire - Vladimir Nabokov (1962)
  • Blood Meridian - Cormac McCarthy (1985)
  • The Magic Mountain - Thomas Mann (1924)
  • Mrs Dalloway - Virginia Woolf (1925)
  • Absalom, Absalom! - William Faulkner (1936)
  • The Master and Margarita - Mikhail Bulgakov (1967)

BC2

Reading

Middlemarch (1871)

George Eliot

Previous

  • Invisible Cities - Italo Calvino (1972)
  • As I Lay Dying - William Faulkner (1930)
  • The Waves - Virginia Woolf (1931)
  • One Hundred Years of Solitude - Gabriel Garcia Marquez (1967)
  • The Sound and the Fury - William Faulkner (1929)
  • The Trial - Franz Kafka (1925)
  • Swann's Way - Marcel Proust (1913)
  • The Book of Disquiet - Fernando Pessoa (1982)
  • Season of Migration to the North - Tayeb Salih (1966)
  • Giovanni's Room - James Baldwin (1956)
  • Never Let Me Go - Kazuo Ishiguro (2005)

Writers

accepting new members

Next Meet Date

Mon 05 May 2026

Prompts by Serena

Length: Poem to 2000 words

1. An imageboard as a failed utopia, 2. A male friend group that functions as a panopticon, 3. The zeal of the convert, 4. A structured list that becomes by the end a confession, 5. A detailed plan for a life that begins tomorrow, 6. Interpreting sincerity as aggression, 7. And ofc whatever U want

BC3

Reading

In Search of Lost Time (1913-1927)

Marcel Proust

Previous

  • The New Testament - Various (1st century)
  • Infinite Jest - David Foster Wallace (1996)
  • Inferno - Dante Alighieri (1320)
  • The Aeneid - Virgil (19 BCE)
  • The Republic - Plato (375 BCE)
  • Confessions - Augustine of Hippo (398)
  • Paradiso - Dante Alighieri (1320)
  • Being and Time - Martin Heidegger (1927)
  • The Origins of Totalitarianism - Hannah Arendt (1951)
  • Mythologies - Roland Barthes (1957)
  • The Order of Things - Michel Foucault (1966)
  • Essays on Memory - Jorge Luis Borges (1999)

BC4

Reading

Submission (2015)

Michel Houellebecq

Previous

  • The Culture of Narcissism - Christopher Lasch (1979)
  • Understanding Media - Marshall McLuhan (1964)
  • Serotonin - Michel Houellebecq (2019)
  • Capitalist Realism - Mark Fisher (2009)
  • The Society of the Spectacle - Guy Debord (1967)
  • Discipline and Punish - Michel Foucault (1975)
  • Anti-Oedipus - Gilles Deleuze and Felix Guattari (1972)
  • Simulacra and Simulation - Jean Baudrillard (1981)
  • The Burnout Society - Byung-Chul Han (2010)
  • Psychopolitics - Byung-Chul Han (2014)
  • The Minimal Self - Christopher Lasch (1984)
  • Notes on Camp - Susan Sontag (1964)

Film Club

Watching Next

Chungking Express (1994)

Wong Kar-wai

Previous

  • Persona - Ingmar Bergman (1966)
  • Stalker - Andrei Tarkovsky (1979)
  • Cleo from 5 to 7 - Agnes Varda (1962)
  • In the Mood for Love - Wong Kar-wai (2000)
  • La Haine - Mathieu Kassovitz (1995)
  • Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles - Chantal Akerman (1975)
  • Taste of Cherry - Abbas Kiarostami (1997)
  • Close-Up - Abbas Kiarostami (1990)
  • The Spirit of the Beehive - Victor Erice (1973)
  • Tokyo Story - Yasujiro Ozu (1953)
JOIN