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Émile Bernard, to his credit, spends much of his life redeeming rather than demeaning his friend.
Read MoreAlice Oswald’s “Memorial” begins with a list of 214 names, a bare, sorrowful cousin to the ship’s roll. If you know the old stories, you’ll begin to recognize some names, and then start to look forward to others.
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Many of the entries in Symbionts do not question scientific worldviews as much as attempt to validate art in a world ruled unquestionably by science.
Read MoreWhat makes pianist Jean-Yves Thibaudet an ideal interpreter of Ravel’s Concerto in G is his understanding of and appreciation for jazz.
Read MoreGeorge Orwell strikes me as a man who was easy to love because he had a tenderness in him that runs like a stream throughout these letters and makes you feel, as you read, how much you would have liked to know him.
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One might conjecture that Lena Horne’s career was something like a mink-lined minefield: the promise of wealth and fame went hand-in-hand with the possibility of annihilation.
Read MoreIf Patrizia Cavalli’s poetry is egocentric, even probably autobiographical, its narrator shows a detachment enabling her to observe herself from one remove, even when she describes herself in the élans of attraction.
Read MoreArtists should “no longer huddle in the confines of a painted box set” but instead join together to “find visible and audible expression for the tempo and psychology of our time” and dramatize “the search of the average American today for knowledge about his country and his world.” – Hallie Flanagan, Federal Theatre Project Stick…
Read More“Surely the passion for the plain, the homespun, the banal is itself a form of betrayal, a refusal to look honestly at a complex universe.”
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A Remembrance of Theater Artist Paul Dervis: Embracing The Incomprehensible
Personal salutes to theater director, playwright, and critic Paul Dervis, who died at the age of 67 on June 13.
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