“The dumplings communicated my history, my childhood, the people that I came from, people I hoped he’d soon call family. If we were going to stay together, the dumplings would have to play a role.”
“Although still utilizing classical perspective, Picasso is obviously wrestling with the possibility of abandoning this Renaissance tradition in favor of a new concept of space. In this work he seems to be drawn to the idea of dissecting a moment into successive visual acts—an idea Picasso would explore for the next decade of his life.”
—James Barron on Pablo Picasso, from the portfolio “Picasso’s Women.”
Nice work, buckeyes: you curse more than any state in the union. (Not to be confused with our Ohio-born associate editor’s odd penchant for exclaiming, “Jesus Christ and all his merry elves!”)
“I could share her when she was alive. When she was alive, her presence was endless, time with her was endless, time was endless. Our mother was very old already, and when we children stopped to think about how long we might live, we thought we would live to be just as old. Then, suddenly, there was that strange problem with her vision, which turned out to be a problem not with her vision but in her brain, and then, without warning, the bleeding and the coma, and the doctors announcing that she did not have long to live.
“Once she was gone, every memory was suddenly precious, even the bad ones, even the times I was irritated with her, or she was irritated with me. Then it seemed a luxury to be irritated.”
The family of Norman Rockwell is going to the mats over a new biography by Deborah Solomon, which raises questions about the artist’s sexuality. Says Rockwell’s granddaughter, “She layers the whole biography with these innuendos … These things she’s writing about Norman Rockwell are simply not true.”
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Everyone knows that Heart of Darkness was adapted as Apocalypse Now, but have you ever listened to the 1938 radio version Orson Welles did with the Mercury Theatre? The sound quality is poor, but it’s compelling nonetheless.
“One day in L’viv, in a park near a church, we ran into a film crew. The park was full of extras in costumes, idling, waiting for their turn to be part of an illusion. We spoke to them and it was much like speaking to ghosts, though, unlike ghosts, some of them demanded to be paid for being photographed.”
—Aleksandar Hemon, on his research for “The Lazarus Project.”