Sunday, January 1 1995
WithoutCovers://literary_magazines@the_digital_age Edited by Lesha Hurliman and Numsiri C. Kunakemak
'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.
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.
Living in a contemporary world and writing about its complex history is a little like operating a weapon of sorts. Whichever way you hold it, you're aiming.
By the time 'The Televisionary Oracle' comes to an inevitable end, the reader is hooked into the un-sanity of our own world and the comparable sanity of kookdom.
Kevin Young has produced something important here, an evocative and provocative examination of art, music, pop culture, and what it means to be -- to use the overworked but inescapable phrase -- young, gifted, and black.
[Archie Green] embodies the best kind of common sense; reading him, we are alerted, as if from deep slumber, to how labor and culture, the active and the contemplative life, are not divisible territories but part of a complex environment in which thought and action form an indissoluble whole. Archie is, if anything, a agitator of the human spirit.
Listening to the music of the times permits one to remember, Bromell believes, the loneliness, the breakthroughs, the vertigo of radicalization, and the awareness of a fundamental instability that looked like ecstasy at one moment, like evil the next.
The book presents an interesting collage of the history of art and literature, peppered with artistic and literary obituaries like 'Tennessee Williams choked to death on the plastic cap of a nasal spray'.
One way to value nature is to examine what it would cost to replace the free goods it gives us with manufactured goods. For example, in the South 'maw nature' gave us lots of free water. With urbanization, water is no longer free.