Writer Porochista Khakpour discusses her new novel, The Last Illusion, her desire to literalize the surreal, the role addiction plays for her characters and narrative, and being a lover of outsider stories.
My husband went back to work, and then my mom flew back to Florida, and it was just me and the baby. Alone together, but no longer the us we had been when I was pregnant.
"I wanted to convey the ecstatic experience of performing really destructive music, and to articulate the kind of raw need that drives young people to do so."
The way LTGWS lovingly caressed every carnal description of Manhattan’s byways and alleys, tenement flats, assisted-living towers, and half-way houses was a revelation in today’s post-Minimalist world.
The new documentary 12 O’Clock Boys is the latest example of Baltimore’s restless creative energy... a film that stands up to its inevitable comparisons with [David] Simon’s urban epic.
There was no getting around the fact that a writer had to know who he was in relation to guns. He had to pick them up or not pick them up, but if he was going to not pick them up, he had to all the way not pick them up.
Melissa Cross, a vocal coach who's worked with everyone from the lead singer of Slayer to non-metalists like Sarah Bareilles, talks about her road to teaching, how to scream without compromising your voice, and the importance of performance.
Having tried and failed to keep a diary of my life, having tried and failed to begin to narrate the coexistence of staggering material wealth and enduring spiritual sickness, I have decided to write a series of dispatches pegged to receipts.
In Episode 13 of Make/Work, host Scott Pinkmountain speaks with artist Vanesa Zendejas. Recently, Zendejas has been dealing primarily with Modernist sculpture and her habit to decorate, perfect, and balance, which she says may or may not be related to being a woman.