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In this conversation, Elizabeth Howard engages with Tyler Wetherall, focusing on how she connects with the literary community in New York City through her newsletter, “Reading the City.”
Some of “The Prison Industry”‘s most devastating material appears in the section of the book exposing the lack of acceptable health care in jails and prisons.
Stripped of trip-hop trappings, Beth Gibbons’s fragile voice commanded through a ghostly filter effect as she sang with edgy emotion, peaking in the tagline, “How can it feel this wrong?”
Reluctant to explain the meaning of her art, Leonora Carrington chose to let the magic and mystery of her inner life reveal itself through the imaginary animal/human creatures and fantastic landscapes of her paintings.
Despite — or maybe because of — all the global turmoil, an awful lot of compelling music was heard at Big Ears.
Despite all the Boston Lyric Opera pageantry and talent, “Carousel”‘s trip to the 21st century turns out to be bumpy.
Kudos to Delacorte Press for publishing not one but two middle-grade books about the dangers of book banning.
This is the most slickly engaging of Mfoniso Udofia’s scripts so far, its domestic melodrama enlivened by welcome humor, detailed characterizations, and moments of pathos.
Director Victoria Verseau’s Trans Memoria is an oneiric, brutally frank meditation on the pains and rewards of transgender surgery.
The apocalyptic overtones of the Mekons’ music come across as alarmingly real as ever.
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