I study the difference between myself and my mother. The family photographs have kept an accurate account of this, though their edges have curled and their colors have faded.
In his satiric novel Depraved Indifference, Gary Indiana fictionalizes the incestuous, murderous, disguise-toting grifter team of Kenneth and Sante Kimes, mixing their story with excerpts of letters from Arendt and Kafka.
“I’m interested in the tangled web of history, in the rough edges, and the bumpy surface, the mess just beneath the veneer of order,” says Carrie Mae Weems. In her newest photographic installation, The Hampton Project, a commission by Williams College, Weems was asked to respond to a collection of archival photographs taken of students from Hampton Normal and Agricultural Institute, a renowned, historically African and Native American academic institution.
Abigail Thomas adds new complexity to the memoir genre with her varying points of view and page-turning content. She writes about all that life has to offer in the way of birth, death, promiscuity and regret.
Wendy Hanson’s work conveys beauty and fragility, containing symbolism of skin and scars to mark our own vulnerability.
When a jigsaw puzzle is first spilled from its box there is the chaos of hundreds, sometimes even thousands of individual parts—some so tiny they reveal themselves only as a dollop of color, a ripple of cloth or the tooth of a smile—which, after much effort, the trials and errors of fitting and not fitting, are made into a whole.
My father was a documentary film editor for 35 years.
In his book, Prisoners, Svenson has adopted a group of forgotten children; mug shot negatives which he found, developed, and brought back from the dead.
On the cover of Elliott Smith’s CD either/or is a picture of the musician with Ferdinand the bull tattooed on his arm, the horns covered by his black t-shirt.
Yannick Murphy’s first novel Sea of Trees describes, with an eye for both beauty and irony, the effects of imperialism on a young girl named Tian and her family.