Sunday, January 1 1995
'Punktown' not only explores humanity's inability to interact healthily with their fellow inhabitants in the city of Paxton, but also itself.
'Positively 4th Street' draws a potent picture of artists as young men - and women - run through as it is with the spice and spark of success and disappointment, treachery and infidelity, ambition and antagonism.
Charles de Lint eschews the label 'urban fantasy' for his own description: 'mythic fiction'.
Others Unknown: Timothy McVeigh and the Oklahoma Bombing Conspiracy by Stephen Jones and Peter Israe
It is a frightening truth we need to be aware of and hear for ourselves. After all, what's to stop the 'others unknown' from targeting the INS office in Los Angeles and then the FBI office in Houston, Texas, according to one proposed plan?"
In 'Outland' Roger Ballen steps into the breach between photojournalism and constructed art. His new works disturb because what they take from the idiosyncrasies of local [South African] Poor White culture, they give to the sense of fictional possibility, leaving an odd sense of dignity in their protagonists.
'Out of the Past' has a pasted-together feel one might expect from a website entitled 'Noir Films I've Seen'. The book fails to deliver a big picture and doesn't do a very good job at delivering a lot of little pictures either.
Popular culture hasn't had so wide a reach since the invention of the telegraph when cranky mothers could finally harass their children from across the world.
These tales flirt with notions of archetype: they make use of our desire to read meta-characters as stand-ins for veracity and personal experience.
Neo-paganism has become a cute type of nonconformity and not just in California either.
[This book] the result is a handy primer for newcomers to the music and those taking the first tentative steps into free jazz, and a manifesto of sorts that will likely become the fulcrum of debate for years to come.
Superficial sound bite journalism doesn't really inform us.
. . . the House of Southern Fiction is in the process of remodeling.
While some of us claim to have a mind-body problem, Lionel Essrog, the anti-hero of [Jonathan Lethem's] 'Motherless Brooklyn' and a sufferer of Tourette's syndrome, has a more fundamental quandary: a mind-mind problem.
Disney seems pretty vigilant about separating the animated Disney features from the more adult Touchstone features (although I wonder how well a 'Pretty Woman'-themed ride would be received).
While 'If' concludes with change wrought through the barrel of a gun, what lingers about the film is the breadth of Anderson's imagination and the passion with which he at the same time savages and memorializes the environment of his youth.
If the universe expands and contracts like a yo-yo, what effect does that have on time and its relationship to humanity? We would all wind up living our lives in reverse.
The utility of the majority of the essays is limited, hardly explaining the film (or films) that the authors attempt to unravel, and doing little to explain science fiction/horror films or Cronenberg's oeuvre.