Cities sitting nervously on the edge of wars have a tendency to change very quickly. Take Pakistan's capital, for example. But some things never change, like an unexpectedly delicious Chinese restaurant.
Verlyn Klinkenborg's essays about life on his farm in upstate New York have run in The New York Times since 1997. With a long family history of farming, his agricultural roots run deep into the soil.
"All of my aunts and uncles farmed; all of my cousins still farm," he says. "The home farm where my dad was raised has been in my family since the early teens, and ... following the track of modern agriculture, has changed its character hugely over time. But it's still in the family."
Wallace Shawn is famous for his career as an actor, but over the past four decades he has written a handful of plays that are intellectually demanding and rarely produced. His characters tell stories in monologues, rather than acting them out onstage, and they use cascades of words to make dizzying arguments.
His work is being showcased at New York's Public Theater this season. A revival of The Designated Mourner opened July 21 and the American premier of another Shawn play, Grasses of a Thousand Colors, will open this fall.
Originally published on Thu August 1, 2013 11:11 am
Anthony Marra is the author of A Constellation Of Vital Phenomena.
Ditie, the narrator of Bohumil Hrabal's transcendent novel, I Served the King of England, is described in the jacket copy as "a hugely ambitious but simple waiter in a deluxe Prague hotel." I first crossed paths with him when I, myself, was working as a night porter in a deluxe Edinburgh hotel.
Artist Faith Ringgold is best known for what she calls her story quilts — large canvases made in the 1980s, on which she painted scenes of African-American life: sunbathing on a tar roof, a mother and her children, a quilting bee. She frames the canvases in strips of quilted fabric, carrying out an old African, and African-American quilt-making tradition.
The National Museum of Women in the Arts in Washington is showing an earlier aspect of Ringgold's art: big, strong, vivid paintings from the 1960s that reflect the violence and social upheaval of that time.