Abigail B. Lind
To combine this darkly fascinating subject matter with the author’s straightforward narration initially seems a kind of alchemy; von Schirach promises to extract insights about “human beings—their failings, their guilt, and their capacity to behave magnificently” from the elements of hardboiled detective novels and television serials.
Director Sylvain Chomet’s loyalty to writer Jacques Tati’s memory prevents him from exercising his full creative powers, and the film suffers for it.
The changes that arts criticism is enduring will ultimately allow more people to engage more deeply with culture—but not without growing pains.
There are a lot of impoverished writers out there with an axe to grind against the big bad Internets.
In an article about Argentina’s bicentennial, n+1 founder and editor Benjamin Kunkel commented that in that country, “crisis has enforced creativity.”
“This is a weird town,” observes Frank, a visiting photographer, of Shirley, Vt., in Annie Baker’s “Body Awareness.”
Elif I. Batuman ’99 paused as she read from her new collection of autobiographical essays, “The Possessed: Adventures with Russian Books and the People Who Read Them.”
An important subplot in Lan Samantha Chang’s “All Is Forgotten, Nothing Is Lost” involves a mysterious poem that is never properly finished.
Although “Never Let Me Go” remains flawed, it also demonstrates a high level of technical skill that will serve the director well if he ever learns to trust in the intelligence of his audience.
Though it would be going too far to suggest that director Rebecca Richman Cohen HLS ’07 aestheticizes tragedy, one thing is immediately clear: CSPAN this is not.
While an unassuming humanism underlied Franzen’s earlier work, the characters and places of this novel seem subordinate to his coldly rational exploration of space and independence in modern America.
In that spirit, I decided that damn it, I was going to enjoy our excursion to Walden Pond.
Community newspaper obituaries are the pinnacle of doom in modern society—the most doomed section of the most doomed newspapers in an industry that seems summarily doomed.
On Thursday, Catherine B. Lord ’71—a visual artist, writer, curator, and intellectual focusing on queer theory, feminist history, and colonialism—will receive the Spring 2010 Harvard Arts Medal.
It is a little-known fact that when the Carpenter Center was designed in 1959, the sidewalk that cuts through the ...