The final breakdown coincides, it’s said, with his botched intervention in the savage beating of a horse, the sight of which perhaps brought to mind the pedagogical methods employed long ago by Dad, the good pastor. The final train journey home is uneventful, safe arrival ensured by the company of burly individuals who, while not given to deep speculation, observe with increasing fascination the professor’s inability to resist removing a small mirror from the inside pocket of his jacket every few minutes and study minutely, with an expression of horrified astonishment, his own face. When questioned at last regarding this activity, or imagining he has thus been questioned, he replies, or so it seems, with a query of his own, succinctly posed: Is it true that I am here? — EXCERPT FROM Nietzsche’s Mirror
BY Franz Wright |
Lynda HullLynda Hull’s love of beauty was so intense that she could risk her life to achieve it. In the fall of 1981 in Little Rock, Arkansas, driving her oil-burning “Outlaw Vega” through a thunderstorm, she decided not to turn on her windshield wipers, since the rain-streaked patterns of streetlight and starlight on the glass reminded her of Monet’s water lilies. She crashed into a parked car, cutting and bruising her head. This incident illuminates many of the themes her poems address: the intensity of longing, the attraction to near-disaster, the compulsion toward desolation, and the glamorization of difficulty. — EXCERPT FROM Making History Bearable: Lynda Hull and Reading Newark |
Description d’un masque de féroce mangeur d’air Offending the Reader
The Mother of All Maladies — |
Greens compete. Sometimes achieve — EXCERPT FROM Greens
BY Lia Purpura |
MalawiMud splatters my white socks as my shoes land in a puddle. It’s rainy season in northern Malawi, a small African country located in the center of the Rift Valley, a geological fracture extending from Ethiopia to Mozambique. Today, I am undergoing a crash course in water and sanitation and learning about the new and improved water supply system for Livingstonia, a Presbyterian mission overlooking Lake Malawi, the third largest lake in Africa. — EXCERPT FROM Drops of Change |
New YorkThese days I am surprised to see my own face when I look in the mirror, so much time do I spend looking at Franny’s. We wear each other’s clothes and read each other’s books by day, she is my early morning and late night phone call, the person I reach for in my sleep. She tells me stories of kissing the movie star, and as she tells me she reaches out for me to draw me in to her, showing me how he held her, how he touched her. — EXCERPT FROM Person Lessons |
FictionCan you believe that we are north of somewhere, considering the slice of weather during this time of year? It is a comfortable respite in here, I must say. It makes sense, of course. You cannot have covers bending and pages succumbing to foxing and browning from sustained heat and humidity. Such book damage would surely not be good for business. Don’t worry, by the way. I have not stopped in for several years, it has probably even been a decade back, but I am not the kind of person who walks in, gushes over loving the smell of books, but never buys anything, and darts back out the door in less than a minute. — EXCERPT FROM What Do You Say to a Shadow? |
Bai HuaTime has always been the greatest wonder for me. Why is it now, but not then? Why did he die, while she was born? “And those weeping,” and “a sound from moving water”… I had poured out all of these in “Expression,” a poem I wrote in October 1981 in Guangzhou. Why would I suddenly stop my pen (and stop writing poetry) for fifteen years, and then suddenly begin to write anew in 2007? This mystery is closely associated with time: it makes me ponder, but without explanation. Yet it is often the miracle of time that summons me, luring me closely behind it. I write, I stop, I write again… — EXCERPT FROM Lyrical Mystery of Time and Space: Conversing with Contemporary Chinese Poet Bai Hua
BY Greta Aart AND Bai Hua |
Larry LouieGrowing up, I actually wanted to become a National Geographic photographer, but my parents discouraged it due to the instability of earning an income. My second choice was a professional career which would provide a steady income and involve some aspect of dealing with vision. Thus, what better work than being an optometrist — gaining an understanding of optics and helping people with their vision. As my practice and career as an optometrist became more established, I began to venture back to photography and travel on a part-time yet serious and consistent basis, this time using both my photography and optometry skills to help people that are less fortunate in the world. — EXCERPT FROM Helping Others See: The Work
of Photographer Larry Louie BY James Smart, Sally Molini AND Larry Louie |
Stuart DischellHumor is certainly one of the elements at play in my poetry and was also how I defended myself as a child. Sometimes there was a price to pay for being funny, as well there should be. Some “funny” poetry is indeed as you say “trivial” and appeals to the worst sense of the audience: the wish to be passively entertained. And in the case of poetry readings, it’s especially easy to get a laugh when the reader becomes merely a listener. And that again is “trivial.” I don’t think humor is always so funny. When it works best it’s painful. Think about Stanley Kunitz’s poem, “The Portrait” with its marvelous diction and line-breaks. The subject of the poem, the father’s suicide, is certainly not funny nor is the poem written in a joking manner — yet there is decidedly to my mind a macabre humor at work… — EXCERPT FROM Who Should Tell the Poem
A Conversation with Stuart Dischell BY Maryanne Hannan AND Stuart Dischell |
FictionThey left all at once.
There was no warning, or none that we could read. We were only children, and our fathers were only their helpless selves. One minute, our mothers were near us, making the noises of pots and pans in the kitchen, or they were sitting talking with cousins at the family barbecue, or they were arguing with us about the mess we’d made, or they said they were just taking a quick nap, or they were walking with us through the bright clamor of the mall — and then the next minute they were gone. Our mothers were not in the kitchen, not in a lawn chair, not slamming doors, not in their bedrooms, not in any of the stores…. — EXCERPT FROM Our Mothers Left Us |
Anthology
Fiction
Poetry
Film
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NonfictionBei Dao, an internationally acclaimed poet exiled from China in 1989, has written a travelogue of the world in these twenty essays. The reader is taken on a unique personal journey through a variety of landscapes: a banquet in Palestine, a South African prison, Prague on the eve of the Velvet Revolution, a Sacramento baseball game, and walking along the Seine in Paris, the first foreign city with which Bei Dao became well-acquainted. These essays are a cultural cornucopia of artists, political figures, immigrants, writers, all rendered through a highly accomplished poet’s depth, honesty and haunting sensibility. — Sally Molini
Marvelously illustrated in an explosive fusion and rush of colors, energies and words, Radioactive is an unusual tale of the romance-history-legend of our beloved Pierre and Marie Curie. Humorous, fantastic and attractive to all ages, it is a delicious, delicate and tender work of art — it speaks for itself! — Greta Aart
Sharon White’s Vanishing Gardens: Finding Nature in Philadelphia is a perfect literary and spatial act of what Michel de Certeau describes as “walking in the city” — exploring an urban space not in a spatial order, but through memories, myths and histories that enable her to discover new possibilities in gardening in a city where gardens may have long vanished. “I suppose everyone has ghost gardens in their history even if they don’t think about them all that much,” White writes, “The more I live in my corner of Philadephia, the more it seems that the city is an extensive garden, a bit wild in all parts.” This is how a walk begins. — Greta Aart
MusicDragonetti (1763-1846), colorful Venice-born virtuoso whose artistic skill was legendary, also wrote music for the strikingly resonant double bass. Some of his work has, to quote Jolanda Dalla Vecchia’s liner notes, “unconstrained creativity displayed in the solo parts, technically often verging on the impossibility of performance.” Orchestra di Padova e del Veneto is definitely up to the challenge, performing concerto, quartet, three waltzes and quintet with unconstrained finesse. A rare opportunity to hear the double bass sing. — Sally Molini
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