In an essay both bizarre and deeply moving, Emory University professor George Yancy challenges us to see the divine in each other.
“Public Enemies,” far from being the “duel” suggested by the book’s subtitle, is in fact an act of mutual masturbation by two of France’s leading luminaries, Bernard-Henri Lévy and Michel Houellebecq (pronounced Wellbeck). In the book-length series of letters, the friends encourage each other to indulge in self-reflection. They talk about their fathers. They spar over Goethe, Nietzsche, and Schopenhauer. But mostly they trade notes on celebrity and use the opportunity to solidify their images.
If you find yourself at an avant-garde jazz concert and poet Steve Dalachinsky is not in the audience, you probably have the wrong address. An unparalleled jazz aficionado, Dalachinsky has soaked in enough of the music to attempt the impossible: to create the same indescribable, musical feeling through words.
James Logan’s new play “Red” about abstract painter Mark Rothko, which has just opened on Broadway, begins with an unobstructed view of Alfred Molina’s back. Molina as Rothko, staring at his own painting, begins to pontificate — and this, in essence, is the central image of the play: a self-absorbed artist/genius who turns away from the world as his newly hired assistant witnesses his rants and rages, fears and memories.