The performance was viscerally compelling. Immersed in evolving harmonies and asymmetrical rhythms, I found myself transported to a space outside the predictable and rigid schedules of junior spring, of deadlines and word counts, into a rustic, sunlit world where patterns existed to be deconstructed and reformed.
Since the beginning of time, editors at The Nassau Weekly have taken their pens to each other’s Common Application Essays. And yes, The Nassau Weekly has been around since the beginning of time.
The first few episodes feature some pretty conventional plot devices, but the characterization and dialogue have a loose, awkward, and very human quality to them.
In a filmmaking era when movies are increasingly designed, focus-tested, and audience-approved to please, “Bone Tomahawk” is strangely refreshing for refusing us our simple pleasures.
Nobel laureate Patrick Modiano’s most famous novel, Dora Bruder, is something like a ghost story, though not in the traditional sense. It is a ghostly story about a young man and a nation haunted by history. Modiano received the Nobel Prize in literature in 2014, the fifteenth French writer to do so after the 2008 laureate Jean- Marie Georges Le Clézio. While Le Clézio’s writing is sensual and tinted with exoticism, Modiano’s is sparse, introspective, and heav- ily autobiographical, sometimes even termed “autofiction.”
When the Antlers released Hospice in 2009 on Frenchkiss Records, the band established itself as a project of personal catharsis for its frontman, Peter Silberman. Designated a concept album, Hospice channeled Silberman’s past romantic failures into a story of two individuals confined to a cancer ward: a hospice worker and the terminally ill patient he gradually falls in love with.
