Short Fuse
What percentage art? What percentage terrorist attack?
Unlike the rock star supporters of Pussy Riot, Garry Kasparov lives in Moscow, which means, given how the Putin regime has dealt with critics, he has a lot more to fear than, say, Madonna, who nevertheless should be applauded for speaking out at her Moscow concert.
Dissident artist Ai Weiwei speaks for an alternate China, another possibility for it. In a sense, he is the anti-Mao. Alison Klayman’s “Ai Weiwei: Never Sorry” is an essential introduction to his work to date.
Art and science rebuffed each other in this show. Visitors are unlikely to leave with either a greater understanding of cosmology or of Josiah McElheny’s art.
As monster fiction, “Vlad” has hints, now and then, of what “Talulla Rising” doesn’t aspire to. In the former, Carlos Fuentes peels back the familiar to provide glimpses of the genuinely horrific.
Here you have it: Werewolves are horny, vamps merely thirsty. This, to be sure, is material to work with, as novelist Glen Duncan does. But I can’t help thinking about great nineteenth-century novels of involuntary transformation.
There have been over twenty movie adaptations of H. P. Lovecraft stories, all nearly forgotten. And yet Lovecraft’s sensibility serves as a guide to much of today’s cinema.
What struck me about “Hunger Games” is that the rules change in Katniss Everdeen’s battle to survive against others like her, including others she likes, might even love.
A new Haggadah has recently been published, the “New American Haggadah,” edited by Jonathan Safran Foer and translated by Nathan Englander. It’s getting a lot of attention and some criticism from “elders.” But maybe the Haggadah is beside the point. . .
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