It’s rare for a short story to cause a ruckus, and Shirley Jackson’s “The Lottery” is one of the few exceptions.
“With my straight razor, I unmask the lie,” Rainald Goetz read at a literary prize competition in 1983. Then, Goetz picked up a blade and sliced open his forehead, nonchalant.
Tilda Swinton once said in an interview, referring to her collaborator Derek Jarman, director of Wittgenstein (1993): “He was the material of his own work.”
Lafawndah extends outward, drawing on the emotionally charged myths of N.K. Jemisin’s Broken Earth trilogy to guide her.
Decade of Fire is a remarkable tale of the Bronx’s rise from ash, standing to set the record straight about the fires that ravaged the borough in the late ’60s and ’70s.
In mid-March, a still from the reality show Big Brother in Germany circulated on the Internet. It showed the contestants, who had been locked in a house together since early February, relaxing in a hot tub, blissfully unaware of the pandemic surging across the globe.
“Are you in pain?”
The first words spoken in Nina Menkes’s 1991 film, Queen of Diamonds, treated to a recent 4k restoration, slice through minutes of opening silence.
Capitalism is fundamentally unsustainable. In the spring of 2020, the world began experiencing this fact more acutely than ever, as humankind struggled to control the COVID-19 pandemic.
In a career spanning over two decades, Wayne Koestenbaum has copped to a lot.
Bernadette Mayer’s Memory was never meant to be a book.
“You look really different than your picture.” This skewering statement is delivered at the outset of a doomed Tinder date by Anne, the impish protagonist of Kazik Radwanski’s Anne at 13,000 Ft.
At the heart of Leave to Remain is the two authors, who, like Janus, share two faces and a mind that begins as two but comes to function as one,.
How do we translate performance onto the page?
This spring, Vienna’s experimental label for “new punk computer music,” Editions Mego, releases an anxiety-inducing record by Australian-born, Berlin-based sound artist Jasmine Guffond.
Last spring, inspired by Édouard Glissant’s theory of mondialité, I created an experimental performance salon at The Kitchen, featuring sound stories with an attitude of globality and an improvised/ambient/chanting vibe.
In February 1970, the Black Panther Party (BPP) sought political support from the French dissident writer Jean Genet, after his play The Blacks, which had recently traveled to New York, suggested he might be an ally.
Two friends flee from a band of vengeful hunters in the 1820s Northwest and dream of striking it rich.
The life of mutant-pop songwriter Peter Ivers was really something.
“I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.”