Sophie E. Heller
You know it's January when everyone, including you, is on some quest for self-improvement . Forget about the gym for a while, however, and concentrate on 2013's new book releases.
The stories in Emma Donoghue’s new collection “Astray” traffic in concerns with flight and longing. It’s a shame that a good half of the collection, like Donoghue’s doomed characters, never makes it past the departure point, resulting in a book that ranges from riveting intrigue to disconnected shlock.
Too lazy to read a book? Judge its cover instead. In this bi-monthly feature, a revolving slew of writers will analyze new releases based on their dust jackets alone. This week, artistic expert extraordinaire Sophie E. Heller turns her discerning gaze on an enigmatic fedora, a badly-drawn apartment complex, and a hackneyed walk on the beach.
Achieving literary fame at a young age is frequently elusive. Once the hype surrounding a triumphant first novel fades, the literary world will look to its author with expectation, eager to see if genius will strike again or if the first book was simply a fluke.
Israeli artist Ori Gersht's new Museum of Fine Arts exhibit, the first comprehensive survey of his work, gathers the artist's films and photographs on loss and memory.
Aside from my banana experience, I’ve mispronounced numbers at crucial moments, initiated a business meeting between my computer and a mug of steaming Chinese soymilk, and (literally) fallen into trouble with a squat toilet that has made me avoid a particular pair of shoes.
“Port of Morrow” demands attention right from the album’s opening notes—robotic bleeps interspersed with pulsing keyboards and soaring synths.
“Animal Joy” once again shows Shearwater’s constant musical evolution: the band has arisen from the gloomy murk of 2008’s “Rook” to develop an upbeat and piercing sound that despite its brightness is just as haunting.
In order to gain a better understanding of his upcoming book’s setting, Frédéric Mars visited Harvard and met with The Crimson as part of a two-way interview, revealing important aspects of his work and learning about Harvard life in the process.
Although “Parallax” does not present a totally unified vision, particularly due to the unfulfilled nature of individual tracks, Cox succeeds in presenting a distinctly bizarre futuristic landscape that is all his own.
Except for the slightly higher-than-usual proportion of flannel shirts, it looked like any large Harvard lecture—that is, until Jeff Mangum walked on stage and brought forth an atmosphere of hero-worship that lasted far after his set concluded.
"Are we having fun yet?" The question was barely audible in the dark basement of Uno's on Thursday night, where students came out to support the Harvard Cancer Society in its date auction, Wanted. One of the event’s emcees, Christopher J. Guenard '12, enthusiastically responded, "It doesn't matter since we’re raising money for cancer research!"
Harvard singer Leah Reis-Dennis ’13 discusses the evolution of her art, from its childhood beginnings to her goal of singing on Broadway.
Corporate holiday promises fun releases
With its retelling of a medical miracle and less inspiring display of sentimental schlock, the film succeeds as a macrocosm of ’60s culture but is ultimately too trite to serve as a chronicle of a father's reconnection with his long-lost son.