Art. Word. Thought.
From Charles Bukowski’s just released collection of rare and never-before-seen material — poems from obscure, hard-to-find magazines, as well as from libraries and private collections all over the country — Storm for the Living and the Dead.
if we can’t make literature out of our
agony
what are we going to do with
it?
beg in the streets?
I like my minor comforts
just like any other
son of a
bitch
I cut my skin to liberate the splinter, at Connelly Theater, East Village;
umBhovuzo: The Parable of the Sower, at Harlem Parish, Harlem
Part of Performa Biennial, NYC
by Robin Scher
“It was the best of times, it was the worst of times,” begins Charles Dickens’ epic A Tale of Two Cities. Dickens goes on to describe the novel’s period, set against the French Revolution, as an age of “wisdom” and “foolishness.” The context may have changed since those words were written, but the sentiment remains true. Here we are in 2017, arguably more conscious than ever to the plights of the dispossessed, yet somehow still stuck in the mires of narrow mindedness. Why do we seem doomed to repeat the errors of our ways? How can we better draw on lessons from history? In November, at New York’s Performa Biennial, these were questions at the heart of at least two South African artists’ commissioned performances. [Read more…]
In the strange annals of medieval manuscripts is one held by the British Library designated as Royal 2 A XX, which contains the Lord’s Prayer, sections from the Gospels, several hymns and litanies—and several “Blutsegens,” or “blood charms”: series of prayers and magical incantations to ward against excessive and painful menstruation. The manuscript, which dates to the ninth century, contains at least three different blood charms, though the second is what concerns us here. The passage begins by calling three times on Beronice, an apocryphal figure who was supposedly cured by excessive bleeding after she touched the hem of Jesus’s garment. There is a line from Psalm 51:14: “Deliver me from bloods, O God, thou God of my salvation,” and transcriptions of some older chants and spells, once passed down orally, resulting in an odd blend of early Christian belief and pagan magic. [Read more…]
Inspired by true events, The Divine Order tells the story of a housewife’s servitude and her quest for emancipation in a remote part of Switzerland. She rallies other women to fight for the right to vote, shifting the scales of power politically and domestically, while awakening to her own sexual potential. [Read more…]
How do we describe buddha nature? Buddha nature is said to resemble space. Can we say that space exists? Can we say that it doesn’t? We cannot, because space itself does not comply with any such ideas. Concepts made about space are merely concepts. Space, in itself, is beyond any ideas we can hold about it. Buddha nature is like this. If you say that space exists, can you define it as a concrete existent entity? But to say there is no space is incorrect, because space is what accommodates everything — the world and beings. [Read more…]
A New Biography By Anthony DeCurtis
Reviewed David Yaffe
An extract from “Lou’s Wild Side,” in the November 23 issue of The New York Review of Books
“Just a perfect day/You made me forget myself/I thought I was someone else/Someone good.” These lines—sung indifferently over swelling, glam rock strings—are from “Perfect Day,” an achingly gorgeous and brutally honest song by Lou Reed, who died of liver disease four years ago at the age of seventy-one. Some people thought the song was about addiction—how a junkie escaping from reality also feeds on the escape of romance. But the song could also be about how pleasurable, yet impossible, it is to escape from your true self, and about how easy it is to deceive yourself when you’ve disappointed your own expectations. [Read more…]
It is quite possible that the most fitting work of art to premiere onstage this year as an appropriate expression of the times is Thomas Ades’s searing opera, The Exterminating Angel. Apocalyptic, cataclysmic, it tells the story of a group of wealthy dinner guests who cannot leave a mansion, pushed back by an invisible force. Civilization soon crumbles and they become savages. The opera is noteworthy as both a work by Ades, certainly one of the great modern composers, and because it is an adaptation of a film by Luis Buñuel. More than most filmmakers, Buñuel’s cinema endures as both landmark filmmaking and as a powerful set of visions which interpret the human condition. His body of work spans from 1929 to 1977, yet feels even more at home now, in this age of surreal gestures and civilization as madhouse. Buñuel was keenly aware that humans are driven by desire, tribalism, and the power of fantasy. It is when these three mix within his cinema that even his lesser films maintain a dangerous undercurrent. [Read more…]