Rachel A. Burns
Setting it in postwar Paris in 1952, Ozick describes her retelling in relationship to James’s work as “a photographic negative, in which the plot is the same but the meaning is reversed.”
“Human Chain,” the newest collection from Nobel Prize-winning poet Seamus Heaney, is filled with the sounds of different languages.
Between his constant wordplay and his easy use of rhyme, Muldoon creates a series of poems that are full of exuberance even as they approach the grisliest of topics.
The poppies blossom annually as reminders of the blood lost in these very same fields.
Herbert, Hopkins, Goethe, and Dostoevsky are only a few of the voices that C.K. Williams conjures in his new collection, “Wait.”
Sondheim’s play is in itself alive with magic and mystery, but what is most enchanting about this production is the incredible energy that its cast brings to the stage.
In her latest book, “Nox,” poet Anne Carson uses Catullus’ elegy as a lens through which to understand the death of her own brother.
“White Egrets” is composed of a sequence of poems that range in subject from Walcott’s travels in Italy and Spain to his former love affairs.
Arts execs take a break from ranking Radiohead vs. Spoon to rank... whatever they feel like.
It is not surprising that Stephen Sondheim, arguably the most influential living Broadway composer and lyricist, knows how to work ...
Remember the fake nose that Matt Damon wore in “Ocean’s Thirteen”? The 30 extra pounds he sports in Steven Soderbergh’s
I’m gonna be a big deal,” jokes Alison H. Rich ’09. A veteran of the Harvard stage, she is preparing
“Someday we’re not gonna be here,” says protagonist Troy Gable in “The Great Buck Howard,” “and if that’s the case,
A monster has been gnawing at the avocados, explains the white suburban couple, Clay and Kelly, to Mr. Hadid, the
Today, the term “religious conflict” might bring to mind the troubles in the Middle East and the culture clash between