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It’s hard to argue that the decision to forge careers as composer-pianists in the teeth of fin de siècle misogyny and rock-set views of musical gender roles wasn’t an act of defiance.
If there is power in being invited, for the space of 80 minutes, to suspend our fear of where things are going, this show is a place where we can feel safe to do just that.
Some might complain that the essays have not aged well since they deal with thinkers who are no longer fashionable or who wrote at a time very different from our own. But it’s the contrast between their time and ours that makes them interesting as well as problematic.
The sitcom tropes encourage director Sam Raimi to unleash his utterly demented black humor sensibilities.
“Long Take” is a somewhat dry read; there are some great passages, but too many rambling, unfocused sections for it to be a satisfactory sequel to the Japanese director’s 1983 memoir.
In this Short Fuse episode, host Elizabeth Howard talks to Holly Smith, a volunteer and board member at Big House Books in Jackson, Mississippi.
House of Day, House of Night “is not an easy read, but for those with the stamina, it is a rewarding one, inviting us to savor its reclusive, succulent insides.”
Despite an occasional narrative misstep, “H is for Hawk” soars with enormous power and beauty when it revels in the mysterious, graceful ways of nature.
“Job” is not so much a game of cat-and-mouse as a highly pressurized coffee klatch.
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