Wednesday Poetry Corner: Numbers, by Rachel Blau DuPlessis
Numbers is a beautifully rendered poetic artifact, a rollicking admixture of visuals and text Continue reading Wednesday Poetry Corner: Numbers, by Rachel Blau DuPlessis
Numbers is a beautifully rendered poetic artifact, a rollicking admixture of visuals and text Continue reading Wednesday Poetry Corner: Numbers, by Rachel Blau DuPlessis
Where Marshland Comes to Flower by Peter Anderson is highly recommended for those who love the art of the short story and the continuing literary legacy of Chicago. Continue reading Espresso Shots: Where Marshland Came to Flower, by Peter Anderson
Karl Marx: Greatness and Illusion is an indispensable volume, an epic about a man and his times. Continue reading Biography Mondays: Karl Marx: Greatness and Illusion, by Gareth Stedman Jones
Mater 2-10, by Hwang Sok-yong, chronicles Jino’s sit-in, weaving together Korean history and Jino’s family history into a multi-generational saga. Continue reading Translation Tuesdays: Mater 2-10, by Hwang Sok-yong
“Paris had Brassaï. And Berlin had Newton. But Moshe had L.A., babe.” Continue reading Photography Fridays: L.A. Babe: The Real Women of Los Angeles 1975 – 1988, by Moshe Brakha
Language is a toy, something played with, subverted, parodied, and explored. Continue reading CRITICAL APPRAISALS: JOYCE / BECKETT // ASHBERY /// MAKIN – Part Four
Yet even an anti-novel is still a novel. Continue reading CRITICAL APPRAISALS: JOYCE / BECKETT // ASHBERY /// MAKIN – Part 3
Both Ulysses and the Wake expose the frailties and chaos of language. Continue reading CRITICAL APPRAISALS: JOYCE / BECKETT // ASHBERY /// MAKIN – Part Two
Richard Makin’s trilogy (Work, Dwelling, Mourning) represents a landmark achievement in (post)modern literature, one that avoids easy classification or explanation. Continue reading CRITICAL APPRAISALS: JOYCE / BECKETT // ASHBERY /// MAKIN – Part 1
Nohow On is about nothing. But like Jerry Seinfeld said, “Even nothing is something.” Continue reading Espresso Shots: Nohow On: Company, Ill Seen Ill Said, Worstward Ho, by Samuel Beckett