Failure, Tragedy, & Comedy, (and a little about “A Midsummer Night’s Dream”)
Thoughts on Seymour Krim and George W. S. Trow that probably fail to illuminate the uses of comedy and tragedy.
Thoughts on Seymour Krim and George W. S. Trow that probably fail to illuminate the uses of comedy and tragedy.
Is Iago a psychopath? Or is patriarchy the real killer in this story?
A film that vividly depicts the great battles of the Napoleonic Wars, while showing the “great man” at their center as a big baby. I call it “emo Napo”.
While it’s tempting to see “The Tempest” by William Shakespeare as a gentle story about forgiveness, love, and magic, its central protagonist makes that interpretation very difficult.
Shakespeare’s play about political speech and the violence that underlies it raises questions about Caesar and democracy that we’ll likely never answer fully.
The Tragedy of Macbeth: The story of a man who aspired to be a monster, and forgot he would only be a man for a brief time.
Returning to it after a few decades, I realize how nightmarish is Shakespeare’s vision of human frailty, madness, and tissue-thin political power.
Shakespeare’s Richard III is a useful reminder of how difficult it is to live under a truly malevolent man when power is centralized in his hands. As if one was needed.
It’s hard to transmogrify work and poverty into art. Never Come Morning, by Nelson Algren, probably did accomplish that feat…
We now interrupt your scheduled arrival for a brief existential crisis. (Or, maybe, it’s just like that for me.)
If living in this world nearly overwhelmed Richard Hambleton, his paintings still have the power to nearly overwhelm this world.
A “lost” symbolist classic by Gustave Khan about a dreamer throwing himself into “life” and running away to join the circus.
In Adele Bertei’s novelistic memoir, a Dickensian waif survives a rough childhood and recreates herself as a queer “stud,” a poet, and a performer through the saving grace of music.
In what feels like four novels in one, James Baldwin covers everything he knows about how internalized social opprobrium can warp our capacity to love. It’s… a lot.
A recent book on the art world did not exactly rock mine. But “Leaving Brooklyn” from 1989- that’s the one you’ve gotta read.
If you haven’t seen a Bergman picture, I’d start with Wild Strawberries. It’s one of his most accessible masterworks, and its reputation has grown since its release 1957.
In his highly lauded novel “The Underground Railroad,” Colson Whitehead, rewires the creaky old machinery of the novel and finds it still able of reaching surprising new depths.
Magda Szabó published Katalin Street 20 years before The Door, and 10 years after being rehabilitated as a former “enemy of the state.”
This seems to be how Colette wrote her masterpiece novellas: Chéri and The End of Chéri: she had these two characters in mind
It’s something you’ve seen in a million crime films…