No-Name Chorale Brings Common Touch to Singing Poetry
What a clever way to begin a program of poetry scored for song and instruments—and a season ahead of similar creative thrills. You have heard of a vicious circle? This was the exact opposite.
What a clever way to begin a program of poetry scored for song and instruments—and a season ahead of similar creative thrills. You have heard of a vicious circle? This was the exact opposite.
I think more about what else in my social life I should see, ask, remember, and do, even when I can do little. Remember F. Scott Fitzgerald: Relationships are the brutality that sustains.
The untitled photograph is not merely a breach between memory and hope, but rather an invitation to inhabit that breach from a distance.
Can this controversial, privately funded $850 million center—dismissed by many as a vanity project, architectural folly, and dangerous precedent—really shore up democracy?
In “Warm Summers and Cold Winters,” Steven P. Gietschier tells the story of Charley and Bill DeWitt, owners of the perennial American League losers, the St. Louis Browns, who, in 1950, decided to hire a psychologist and hypnotist named Dr. David Tracy to help some of the players get over their “inferiority complex.”
Richard Wright has in common with Thomas Hardy that the plots in his fiction are sometimes intricate to the point of distraction, and the events he depicts are often sensational, sometimes to a fault. His novels published after “Native Son” have much to recommend them. Still, “Native Son” and “Black Boy” stand as his most enduring achievements. They capture the isolation from mainstream society that is the reality of many young Black people, in the time of Wright’s youth and in our time.
My mother would have said, “He’s a mess,” but Leon had a punk attitude, loved performative wildness, and was hugely capable. Is it a surprise what came next?
A.M. Gittlitz’s “Metropolitans” tells an alternative history of the New York Mets through the lens of class struggle. Extensive and educational, entertaining and exasperating, it employs the team as a vehicle of left-wing politics, while prodding at the cultural conservatism associated with the national pastime.
The online haters celebrating what they gleefully consider its downfall simplify the matter in the way such misogynists always do: “Supergirl” 2026, in their view, is simply a bad film. The problem with this perspective is that “Supergirl” 2026 is not a bad film.
When the music started from behind us without any musician ever setting up a music stand on the altar in front of us, I realized I had not thought this thing through very far.