The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
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The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
“Bird,” he cried, “I come on behalf of the emperor. Your voice is all anyone speaks of.”
She stops to look into her mother's face. It is smooth and blank as a stone. Nothing emerges; nothing shifts.
Anyone who’s lived long enough to learn to feed themselves likely has some kind of biographical dish.
Whose clock are you on? The author of Saving Time discusses actors versus automatons, and existing between the margins of the “unforgiving timetable world.”
It was a piece of currency so large it seemed unimaginable anyone would try to steal it. But that was part of the appeal.
Tár holds back too much to work as a commentary on cancel culture, and isn't elusive enough to succeed as a work of art.
It was the best first wedding we could have asked for. But it wasn’t enough! Clearly!
The author of All the Beauty in the World on creating a personal map of meaning during his time as a guard at New York’s Metropolitan Museum.