Sunday, January 1 1995
... is rich with shimmering moments of truth, flashes of brilliant insight, a wealth of fascinating personal experiences, and plenty of food for thought. The reader is drawn out of his or her own 'box' and into an intriguing, unfamiliar, and often exotic world. My honest reaction after finishing the book was to wish I could email all these interesting, lively women so we could keep the discussion going.
Nick Tosches's elegantly written and emotionally satisfying case for [elusive singer Emmett Miller] makes one think of American music in an altogether different manner. Tosches convinces us that hearing Miller and the expansiveness of his yodel redraws the landscape of our cultural environment.
David Hofstede presents wrestling from its early days of genuine competition to its current offerings of circus-like performances, but throughout the book he shows a deep respect for the sport.
'What the Fuck' is too concerned with being artsy and obscure to truly be what it envisions itself as: the Johnny Depp film of literary porn.
People appear who may not be people, things happen that might not have really happened, and the answers provided may be merely lies. McCabe does not know if the tricks before his eyes originate from the heavens, outer space, drugs, or future technology, but for the reader these tricks make the fictional small town of Crane's View, New York continually interesting.
It was the 'rules and regulations' of punk aesthetic, sound, and lifestyle that limited its potential and undermined its intention to be a culture more enlightened then the powdered and corporate-sponsored products.
It's designed to make you think about what you laugh at.
...a gritty tale rendered with tough, spare prose that fits the story like a flak jacket.
Not only does it paint a startling but credible image of the misogyny of well-respected practitioners like Man Ray and Marcel Duchamp, it focuses on women Dadaists, who blow all misconceptions out of the proverbial water.
WithoutCovers://literary_magazines@the_digital_age Edited by Lesha Hurliman and Numsiri C. Kunakemak
There is a certain mystique, a romantic vision, surrounding the “process” of publication when it comes to literary journals. Visions of editors and staff members
'Washington' dissects the media, the politician, 'the policy dingdongs on the seventh floor' and the social elite. No weasel words here. Meg Greenfield never dulls her scalpel while dissecting the town and its inhabitants.
Depending on whom you ask, Nashville author Alice Randall's novel - a pseudo diary, really, of Scarlett O'Hara's mulatto half-sister, Cynara - is a parody of 'Gone With the Wind', a sacrilegious retelling of a literary classic or a revisionist history of a vastly overrated, racist melodrama.
dana”>“Progressive ideas that are ... appropriate at one historical moment, can, in time, fade and decay or become defensive in the face of further progress.
In the face of globalization, our pleasures are activities laden with economic and political meaning that encourage us to 'seek out connections between culture and empire, geography and literature'.
What the reader finds in 'Vampire Vow' is slightly less than what we're promised, or at least what we should expect. Have we reached an era of social ease and acceptance where a novel about a gay vampire in love with Jesus can be read at face value alone?"
The Unfinished Revolution: Human-Centered Computers and What They Can Do For Us by Michael Dertouzos
In Dertouzos' world, we'd probably end up floating in jugs of protein bath all our lives, like in 'The Matrix', and our Palm Pilots will go out to wash the SUVs we never drive and order more frozen peas for the homes we live in.
We are all about to embark into the dark underbelly of 1950's New York, a place where the 'straight' and 'proper' big-wigs have more to hide and infinitely much more to be ashamed of - are more 'closeted' - than the marginalized gay community...
Islam is the backdrop of this story. But, while it is ever present, it is never 'more' than a backdrop which is something of a disappointment since in this day, anything that would offer us a clearer view of Islam would be welcomed.
The contributors examine the 133 pictures produced during the course of this decade with neither a jaundiced eye nor the kind of slavish affection for the gruesome that makes much of the writing on horror films juvenile in the extreme.