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In a modest tweak of Dorothy Fields’ lyrics to the famous Jerome Kern song, this weekend will be Boston’s chance, via the Design Museum Boston, to sit yourself down, dust yourself off, and start all over again.
If I suffered half as much from the thought that most art has been lost as I suffer every day from the recollection of departed family and friends, I would be in a mental hospital. In this sense, I found myself resisting the message of “The Melancholy Art,” to the point that I felt that the book was laying a guilt trip on me.
Part of what made “The Dream Merchant” so compelling, and at times, harrowing, a read for me are its themes: love, loss, rags and riches, to be sure, but also the theme of aging, and associated loss of power and possibility.
James Longenbach’s ear for the nuances of diction, tone, stress, and the material aspects of poetry is so good, and his grasp of context and biography so assured, one wonders why the essays so often tie themselves into semantic and logical knots.
In her groundbreaking study, Tufts University professor Alisha Rankin essentially revises the history of medicine by showing that women, presumed to be marginal in the development early modern medicine, were actually major players.
“She Kills Monsters” provides a constant stream of creative, amusing, and outrageous moments.
Moving restlessly between independence and interdependence in style and content, the lecture captures the changeling quality that Gish Jen associates with those who must creatively manage multiple cultural influences.
There are so many characters to root for in “The Wanting” that you tend to read with your head swimming, and with an increasing sense of urgency as the senseless is revealed to have a logic of its own.
Cultural Commentary: Why is Boston’s Arts Coverage So Bland?
According to our docile mainstream media, Boston enjoys a perpetual Renaissance — the merchandise in the cultural window is always worth buying. And that predictability makes for very boring journalism.
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