I don’t understand why the ICA has made the mistake of allotting a one man show to Barry McGee.
What is Harvard Square today but a shopping spree waiting to happen, a student lounge, a food court? What could a novel gain by being set in that venue?
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.
Israel has genuine enemies without, to be sure. But “The Gatekeepers” leaves the impression that it has no less mortal an enemy within.
But there’s something else going on in “Mad Men,” all the more because it’s latent, unannounced, episode by episode. It’s this thing about art and advertising, and the difference, circa that era, if any.
The once proudly and authentically counter-cultural paper The Boston Phoenix went out ugly, fawning on mobster Whitey Bulger.
It’s not a simple story. It’s a story about dreadful ideas, hideous politics and their interaction with art and aesthetic judgment.
Thomas Nagel: Has he penned a rallying cry for those who have no taste for much science in the first place?
Robert Ingersoll is all but unknown in our time. Susan Jacoby sets out to answer why. One answer she proposes is that it was generally assumed that the reactionary expressions of religion Ingersoll contended against would simply fade away over time, to be replaced by education, broader culture and scientific reason.
Obsession is the thing in us that makes us not everybody else. — Joss Whedon