There are a lot of dissonant notes in “The Skeleton Twins,” but at some point the film, like its troubled characters, does begin to achieve a difficult harmony. Johnson’s suggests how, by sharing our burdens in mutual sympathy and good humor, we just may have the chance to keep each other afloat.
Reading “The Secret Place” is like living adolescence all over again: tumbling down a hole into adulthood, awakening to a world terrifically distorted yet recognizable, feeling misunderstood by everyone and desperate to please.
For Hilliard, who has backgrounds in theater and film, photography has a “magic” related to but unique from that of cinema and stage. His paneled photographs, which show glimpses of human scenes in progress, feel like a spectacle unfolding at the viewer’s pace.
Paintings, antique furniture, literature: in Donna Tartt’s latest novel, “The Goldfinch,” the believability of these art objects invariably surpasses that of the human characters. Tartt’s title “character” is not a fictional person but rather a 17th century Dutch trompe l’oeil painting of the same name.
Since the arrival of artistic director Diane M. Paulus ’88, the ART has been developing a new identity for itself on several fronts, including increased ties to New York, opportunities for Harvard students to assist large productions, and devotion to spreading participation in making theater.
So much of our fascination has been with the reputation, not the person, of this infamous queen. But the play “Marie-Antoinette, In Her Own Words,” which ran until Oct. 20 at the Modern Theatre, attempted to give us just the real person.
The words of Lucie Brock-Broido’s poetry collection “Stay, Illusion” shift enticingly in and out of clarity, reminiscent of the way that the illusions of the past haunt us even as they yield to the immediacy of life in the present.
In the Harvard Monday Gallery’s latest show, “Of Models, Memory, and Imagination,” the postcard itself became a medium for aesthetic scrutiny. The show, which ran Sept. 23. and Sept. 30 at 6-8 Linden Street, marked the fifth exhibition put on in the Monday Gallery.
Now a Pulitzer Prize-winning author for his novel “Tinkers,” former Expos preceptor Paul Harding returned to Harvard on Tuesday to preview his upcoming novel, “Enon,” at the Coop.
As you can expect in any Loach film, there is no shortage of vividly rendered scenery. The cinematography is a real treat for the eyes, a visual whiskey tasting of colors, textures, and terrains. And despite a lazy plot, "The Angels' Share" still manages to be a heartening and enjoyable story.
Kirill Medvedev has brilliantly anticipated, but not truly managed to avoid the traps of literature and politics that he so perceptively outlines in his essays. His present celebrity as the leading poet of his country is yet a fragile one, by very fact of its inimitable novelty.
I kept getting these roles and acting in them and thinking, ‘I can do better than this.’
The intelligence of “The Teleportation Accident,” for all its glad existential moments of felicitous insight, still seems more a species of precocity than of wisdom.
The nearly 600-page collection features formally innovative work in the tradition of the pastoral, an ancient form of lyric poetry celebrating shepherds and rural life. At the same time, these poems address ideas from an ecology perspective.
The overly fragmentary nature of "See Now Then" and flattened characters prevent it from being better than a song or ditty, let alone the symphony it has aspired to be.