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Reading the late Tyrone Williams’s last book, befittingly released by his alma mater, is to be caught up in a bittersweet moment which pulses both with loss and pleasure at rediscovering this poet’s immense power to summon the sounds of his culture. We do well to stow away umbrellas, rain boots, thunder coats and instead let the lyric make direct contact at the throat, ribcage and imprint its music as it rises, spills and slides between word and thing. It pours! It writes! “splashing pools of awww…”

In the fateful year of 1917, the Bolshevik Revolution shook Russia and forever changed the world. Its impact left an indelible mark not only on the political history of the 20th century, but also on art, culture, film, and literature. Perhaps one of the greatest exponents of the new Russian Revolutionary zeitgeist was the poet, playwright, and artist Vladimir Mayakovsky, whose thunderous verse and visually arresting Cubo-Futurist agitprop shook the world as much as the history that surrounded...

“The gun that hangs on the wall does not fire. Another gun shoots instead.”

In the age of Goodreads and Letterboxd, with nearly every aspect of the cultural landscape up for review by professional writers and superfans alike, The New Yorker’s critics consider their vocation—and why it matters.

How to convey the power of this book? The achievement of its language is such that it resists easy translation into criticism as practiced in any c