Jonathan Odell’s coming-of-age story “The Healing” contains a breathtaking density of beautifully written dreams. He explores symbolic threads of identity, womanhood, and mysticism, and manages to tie together a narrative that transitions through the memory and imagination of one remarkable woman’s life.
How strong are the bonds of college friendship after decades of separation? Armitai, the protagonist of Thrity Umrigar’s “The World We Found,” finds herself contemplating this question at the onset of the novel. Afflicted with an incurable brain tumor, Armitai realizes what she wants most from the world: the company of her three best friends from college.
To be fair, the point of “The Help” isn’t to delve exhaustively into any one particular character’s storyline—but by casting so wide a narrative net, the film skates a little bit too lightly over the issues it tries to portray.
Stephen Malkmus is often associated with a ‘slacker’ aesthetic, and this album does its part to forward that image with both an understated emotional tone in its vocals and irony in its lyrics. Yet the album itself is inconsistent, and its overbearing, often self-deprecating irony is excessive.
“Arna’s Children”—shown in Sever last Monday as a memorial to its maker, Juliano Mer-Khamis, who was shot by Palestinian militants on April 4 in Jenin—is a documentary with few adornments. The film’s power comes instead from it being relentlessly true.