Come for the shouting and shattered glass, stay for the confessional outbursts, wry dialogue, and fascinating sexual politics. This superb production, directed by Whitney Mosery ’08, presents the tragic aftermath of a man’s inexplicable affair with a goat – the … Read More
It’s like one of those Twilight Zone epiphanies that arrives midway through an episode to thwart the lately begotten hopes and dreams of whatever poor fool thought he caught a lucky break or maybe had a good thing going. So … Read More
The existence of these inflammatory sermons was portrayed as a news-event in itself, but for many Americans the real news should have been this: black people are not happy with America the way you’re happy with America.
“Killing the Angel in the House,” wrote Virginia Woolf, “is part of the occupation of a woman writer.” This particular epithet had come to encapsulate the Victorian stereotype of sexual frigidity, otherworldly purity, and picture-perfect domesticity which was the ego-ideal for a century of unhappy women. Joyce Carol Oates has taken Woolf’s literary dictum to the next level: her Angels are not themselves killed; they themselves kill.
I. “Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde” at the Met Investing Vollard with the almost statesmanlike title, “Patron of the Avant-Garde” is pretty generous for someone Paul Gauguin once called “the worst kind of crocodile.” Maecenas he … Read More
The Morning After Virginia said she would make the breakfast herself. For it was a beautiful London morning in June. She kicked back the covers and looked at Cady Stanton’s luscious ass. Smelled faintly of honeysuckle. Or was that patchouli? … Read More
Cormac McCarthy has established himself as one of the great American authors of the 20th century. His magnificent Border Trilogy, comprised of All the Pretty Horses, The Crossing, and Cities on the Plain, told the hardscrabble yet ethereal tale of … Read More
“If thine eye offend thee, pluck it out.” -Jesus, Matthew 18:8 “Your right eye is half-a-millimeter too high,” Dr. Christian Troy informs an aspiring model during the pilot-episode of Nip/Tuck. “And you have an Irish nose,” he quickly adds as … Read More
The utilitarian function of the museum as mere container has long been eclipsed by its function as signifying apparatus. On the one hand, the design of the interior is responsible for the terms of encounter with individual works of art. On the other hand, the shape of the exterior mediates and proclaims a role for art within the surrounding architectural landscape, cultural mise-en-scène, and even historical moment.
Many works of art have emerged in the aftermath of the 9/11 attacks as part of the collective struggle to commemorate, understand, and situate them within the rapidly coalescing frieze of our shared memory. Thanks to the plethora of novels sprung up in the ashes of disaster, we are now privy to such worthwhile phenomena of universal human interest as the tone-poetic hi-jinks of the chattering classes in the months preceding the big event, as in Claire Messud’s respectable novel The Emperor’s Children, and the annoyingly precious musings of the insufferably earnest, as in Jonathan Safran Foer’s not-so-respectable novella Extremely Loud and Incredible Close.