More Than a Nose That Grows: A New Translation of ‘Pinocchio’
‘Pinocchio’ author Carlo Collodi was a socially concerned writer who wanted his fellow Italians (especially children) to avoid becoming ensnared in a life of penury.
‘Pinocchio’ author Carlo Collodi was a socially concerned writer who wanted his fellow Italians (especially children) to avoid becoming ensnared in a life of penury.
When Americans realized the atom bomb their country created could be turned on them, arts and society alike bunkered down into nightmares of nuclear destruction.
If the escapism in Vittorio De Sica’s Miracle in Milan seems simple-minded, even simpler is the cure to society’s ills.
Márta Mészáros’ film Adoption is empathetic and beady-eyed about the negotiations and indignities of those caught up in social prejudices, especially women.
Ariel Delgado Dixon’s compulsively readable debut novel, Don’t Say We Didn’t Warn You, explores what it means to cope with a shared, painful past.
David Diop’s At Night All Blood Is Black is a terrifying fable whose haunting imagery explores the traumas of empire, colonial thought, and masculinity.
In Call Me Cassandra, Marcial Gala dismantles the suffocating binary of unyielding machismo in pre- and post-revolutionary Cuba.
Fintan O’Toole’s lucid history of Ireland, We Don’t Know Ourselves, is a vivid telling of how his country’s culture of silence and repression was broken open.
Professor and music critic S. Alexander Reed takes an immersive approach to Laurie Anderson’s Big Science and writes as if he is in conversation with the artist.
Douglas Sirk’s excellent and subversive drama, Written on the Wind, shows a rich family coming unglued, ungripped, unzipped.
Powell & Pressburger’s film version of Hans Christian Andersen’s “The Red Shoes” asks, is Art worth dying for?