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David Allen Sullivan has no combat experience here or abroad, but his verse offers a poignant vision of the sights, sounds, and passions of the Iraq War. Matt Kraunelis replicates the landscapes of his hometown, planting the reader’s feet firmly in the Merrimack Valley.
Maybe Facebook COO Sheryl Sandberg had no interest in the requirements of a good book — just its potential use as a marketing tool.
Maria Tallchief forever changed the idea of what it meant to see America dancing.
Israel has genuine enemies without, to be sure. But “The Gatekeepers” leaves the impression that it has no less mortal an enemy within.
Pianist Donal Fox is a classical musician by training, and in style, with a yen for improvisation and, one might add, an unwillingness to let things be.
This anthology, made up of Michael Wolfe’s superb translations of ancient Greek epitaphs, begins in prehistory and ends in the sixth century C.E.
But if a dramatist butchers everything – what will can be put in its place? In the case of “M” it is nothing; nothing I can see or understand.
The serious intentions of “The Company You Keep” are ultimately undermined by the parade of stock cameos.
In her recent program at the Boston University Dance Theatre, Corbett riffed on the eerie, 1967 Diane Arbus photograph of identical twin girls in Roselle, New Jersey.
The emotional peak of the entire night was Bob Dylan’s gently understated performance of “What Good Am I?” from 1989’s Oh Mercy.
Arts Commentary: The Boston Symphony’s New Humanities Blueprint Makes Sense