Annotating Tennyson
Actually, everything’s like that, isn’t it?
You know: layered, couched in events, touched—soiled, perhaps, or perhaps sanctified—by hands, eyes. Sometimes briefly glimpsed. Sometimes lightly pondered. Occasionally, noted.
...more
Actually, everything’s like that, isn’t it?
You know: layered, couched in events, touched—soiled, perhaps, or perhaps sanctified—by hands, eyes. Sometimes briefly glimpsed. Sometimes lightly pondered. Occasionally, noted.
...more
Every year I try to convince my sister not to celebrate Christmas. I tell her we’re not Christians. She says I’m wrapping the children’s presents wrong. I tell her the kids will tear the paper anyway. She tells me to please be quiet and keep working.
“Zahlah quit the bed and saw her dark reflection in the full-length mirror. An American woman. That’s what she saw. Liberated and humiliated.”
Marwa Arsanios and Vartan Avakian are still young. They belong to a generation of artists who grew up during the Lebanese Civil War (1975-1990), and their unique experience with artistic research in Lebanon is revealing new narratives for a catastrophic historical episode.
Trailer for Waltz With Bashir, currently playing in empty art theaters in New York (via Boingboing)