Rarely does a book leave me questioning the ways in which I understood, or thought I understood, the construction of some of the most formative solos in jazz history.
C.D. Wright has woven a poetic text that mirrors the tangled intimacy between humans and the beech, in all of its violence, its confusion, and its beauty.
The Beats came before the ’60s, the decade of civil rights protests, women’s rights, the anti-war movement, and the civil strife that included riots and assassinations.
W.S. Merwin remained politically as well as artistically motivated all his life, often proclaiming the vital importance of activism.
Mainstream environmentalism is not just serious and sanctimonious, it also happens to be very white and very heteronormative.
Music Director Martin Pearlman had the excellent idea to cut out 6 of the 24 arias to make Jephtha move along, and it paid off.
The Bird King is an utterly lovely reading experience.
We need stories like The Wages to expose the hypocrisy and incoherence of the institutions that we are supposed to believe are pillars of justice.
In the age of truthiness, poet Frederick Seidel’s is a welcome voice.
Delia Owens suggests that the only forward movement for her outsider-protagonist and “swamp trash” is to become curators of ecological/cultural museums in the very places where they once struggled for an independent life.