Arts & Entertainment

New York Review of Books: Brooklyn’s Modernist

New York Review of Books

Sponsored by Zerogram Press

Francine Prose
Carlotta’s Brooklyn

It’s a daring move, paraphrasing a masterpiece like Joyce’s Ulysses, but in his new novel, James Hannaham shows us why a writer might do it.

Sherrilyn Ifill
When Diversity Matters

During October’s marathon argument in a pair of affirmative action cases, the most racially diverse Supreme Court in US history debated the value of diversity.

Sean Wilentz
The Emancipator’s Vision

Was abolition intended as a perpetuation of slavery by other means?

Merve Emre
Making it Big

In Roald Dahl’s stories, cruelty begets cruelty, children grow large, adults grow small, and everyone is trapped in a fun house of dirty, depthless mirrors.

Luminaria

a poem by 
Karl Kirchwey

Once you gave them to the children:
those stems of pallid moons
from your seaside garden,

and they stood there exultant
with their chandeliers of Hosts…

Free from the Archives

On Thursday, the Canadian avant-garde filmmaker Michael Snow died at ninety-four. Writing for the Review’s website in December 2021, J. Hoberman argued that his films “were as visceral as they were conceptual, designed to make the viewer conscious of what it is to watch a motion picture.” His best known work, Wavelength (1967), could be “most simply described as a slow, continuous forty-five-minute zoom across a largely empty loft into a photographic close-up of gentle waves pasted between the windows on the opposite wall.” But it was also, Hoberman writes, “a perfect metaphor for narrative film,” one of cinema’s great “monuments in space and time.”

J. Hoberman
A Conceptual Artist of Cinema

“I cannot imagine another artist of the minimalist, conceptual, anti-expressive persuasion whose work expresses a personality as fully as his does.”

 

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