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This is criticism at its best.Carolyn Kellogg, Los Angeles Times
Writing in the tradition of Susan Sontag and Elaine Scarry, Maggie Nelson has emerged as one of our foremost cultural critics with this landmark work about representations of cruelty and violence in art. From Sylvia Plaths poetry to Francis Bacons paintings, from the Saw franchise to Yoko Onos performance art, Nelsons nuanced exploration across the artistic landscape ultimately offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.
