The woman is in Iowa now, I hear. She moved there with her husband shortly after, and now she sees.
In his second collection of essays, funeral director and poet Thomas Lynch embraces wider and more personal themes, touching upon emotional instability, marriage, children and the search for meaning.
This First Proof contains four poems titled “An Intersection of Leaves not Likeness” and “An Intersection of Leaves not Loss.”
I agree with the French. “Tacita Dean. Formidable!” She is an overpowering force and I cower before her in admiration.
Cinema didn’t start with stories. It was hijacked by them. The journey from Lumière to Griffith was over before it began.
The exploration of one concept—the dailyness of our lives—in terms of four distinct, and interrelated, others: artifice, authority, mortality, and the order of things.
Tsai Ming-Liang’s film What Time Is It There? uncovers ghosts in Taipei and Paris and pays its respects to French filmmakers Truffaut and Léaud.
That far downtown, the Hudson can smell leaf green and has an oceanic glint. Overlooking freshets and container ships, the retired Explorer occupies steep rooms in a building where Thomas Edison invented the rotary telephone.
Giovanni Rizzoli’s forms are visual fragments from the historical past and the artist’s personal memories.
This First Proof contains the story “The Dead Man.”
Writers Donald Antrim and Thomas Bolt trade keys to iconoclasm and metaphor in Antrim’s novel, The Hundred Brothers.
This interview is featured, along with thirty-four others, in our anthology BOMB: The Author Interviews.
Writer Ariel Dorfman addresses his pan-American past, the threshold of insanity, and the literary stakes of exile.
I know there has been much speculation on the strange circumstance of my birth, about which many myths have been told.
Duane Michals moves beyond representation and reproduction in his photography, and instead “writes” with his art. He explains the importance of constantly redefining the medium to fellow photographer David Seidner.