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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.
Read MoreIn the wake of the horrors of last week, Jazz Week 2013 comes as almost an act of defiance, an insistence that life will go on in all sectors of the Boston community.
Read More“Bernard Malamud is the great sentence-maker, the great craftsman, and the sheer quality of those sentences has never perhaps been given its complete due.”
Read MoreIn nearly 78 minutes of intensely concentrated playing, Jane Ira Bloom’s album offers some of the greatest ballad performances I have ever heard.
Read More“There aren’t a lot of roles for Middle Eastern actors in the United States. And it does mean something to me to be able to create roles like this.”
Read MoreTruth is, the fraying of the middle class is not just something that has happened to creatives.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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More than skin deep, and not as sentimental as it might first appear, Rachel Portesi’s adoption of Victorian techniques is appropriate to the themes of loss and change she sets out to explore.
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Arts Commentary: With Friends Like These — The New York Times Explains Why Criticism Matters
The important question the NYTBR Editors fail to ask is whether the traditional definition and values of literary criticism will survive in an age of ebooks and iPads. Is there a primal appetite for criticism? (Edith Wharton says there is, and I believe her.) How will the Internet shape our innate desire to compare, judge,…
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