This a tricky time to start a theatre company. But halfway into Albion Theatre company's run of "Heroes," the play is a resounding success. It ignores short attention spans, opening with the three vets sitting silent on the patio, staring at the weather.
We do need our muck raked. But who, in the current corporate oligarchy, will want to pay for that? And in a media landscape clogged with charging knights—their steeds kicking up clouds of dust in every direction—how are we to locate moral clarity?
While I have never had the courage to—another telling phrase—“prance around” naked in public, I can imagine how free it would feel. To move through the world naked as the day you were born, casting aside all costume, an emperor unashamed? To be unclothed is to be vulnerable, your flesh unhidden and unprotected; to be comfortable being vulnerable is to relax, easy in your own skin at last.
Were they with her, I wonder, when she died? I hope so. No living creature is as much comfort at a deathbed.
A wandering mind has slipped its moorings, severing connection with its immediate environment. No longer paying attention to what it can perceive in the surrounding world, it turns inward, self-referential, occupied by dreams and memories and stray thoughts. Instead of musing about what its partnered body is experiencing, reading, hearing, thinking, it slides away to a different destination altogether.
The volume makes it hard not to sympathize with Tibetans, but to her credit, Tsering Woeser makes it clear at several points that Tibetans were not simply victims of Chinese authorities; they were also guilty of transgressions in the Cultural Revolution. Her larger point may be that humans in any group are capable of acting in ways that can shock others, and even themselves.
With little of Effa’s own words and personal details, the book is less a biography than an overview of how systemic racism played out in her childhood, in her young adulthood living in Harlem during the Renaissance and in the arc of the Negro Leagues. Despite the lack of Effa’s voice, however, this is a story worth telling and even more worth reading for a young audience.
The real Elvis is American, remember, and America is a consumer society. The desires we project, the stuff we buy—that is what feels real to us. It lets us have any Elvis we want. He left plenty of kitsch in his wake, plenty of pseudo-religion, plenty of Elvis jokes—but he was not, is not, a joke. He lived our contradictions, released our inhibitions, and lost himself in the process.
Distrustful of (some) digital technology, yet resentful of the power others might gain by its use, CPAC attendees were asked almost nonstop to consume “conservative” or “alt-tech” technologies. In the hours-long general sessions each day, in a ballroom with thousands of chairs, flashy, high-tech displays showed video ads between every speaker or panel—for The Right Stuff (“a dating app for the right wing”), Tusk (“The Freedom-First Web Browser developed exclusively for Conservatives”), Parler (a “free speech” clone of Twitter), FourSure (“a powerful remote control for the content you already share” so you “Don’t get hacked or canceled”), and other tech companies.
I return to the tv, determined to cure myself of the casual lust that overtakes me every time this crap comes on, the mild hypnotic state in which I watch messes wiped from a sparkling white surface, food prep bewitched, household glue used to hold a Volkswagen in midair.