JOURNALISM BY MAX

I moved to New York in 2011 to start an online magazine with my friends: Cluster Mag. I then worked as managing editor at Vice and as staff writer at the music site Resident Advisor, where I was New York correspondent from 2014 to 2019. In 2020, I left to pursue a master’s degree at the Columbia Journalism School and, after graduating, worked as a full-time freelance journalist until 2022. These days — on nights and weekends, mostly — I continue to write and report feature-length stories about music, art and literature.

LITERATURE

2026: When was the last time you laughed at work? [Separator]

2026: In “Bomarzo,” the Renaissance man is a monster [The Nation]

2025: Real narcos have Harvard degrees — the lost interview with Fernanda Melchor [Separator]

2025: “A disaster novel that ends with a whimper” — on “The Dance and the Fire” by Daniel Saldaña París [Separator]

2025: “A danger to myself and others” — on Samanta Schweblin’s “Good and Evil and Other Stories” [Separator]

2025: “My father was a gardener. Now he is a garden." Interview with Bulgarian translator Angela Rodel [Separator]

2025: The distant land I’m supposed to love — on Avi Shlaim’s “Memoirs of an Arab-Jew” [Separator]

2025: That Pulitzer finalist nobody knew — on Stacey Levine’s “Mice 1961” [Separator]

2025: A lost gem of outlaw literature, found in the Sonoran Desert [Separator]

2025: “I’m into role-playing” — on the seminal cult photo book “Evidence” [Separator]

2025: Revenge of the giant humanoid mosquito — review of Michel Nieva’s “Dengue Boy” [The Guardian]

2024: Privileges of misery: on Chilean cult masterpiece “The Obscene Bird of Night” [The Baffler]

2022: Fernanda Melchor on her new novel, “Paradais” [New York] 

2022: Fernanda Melchor habla sobre su nueva novela, Paradais [New York]

2021: Simon Hanselmann’s unhinged Instagram comic captures the horrors of 2020 [Input]

2021: Lord of the flies: a literary biography of Mexican sci-fi pioneer Rafael Bernal [The Baffler]

2016: In “Uproot," Jace Clayton takes a worldwide tour of the digital underground [LA Times]