Elif I. Batuman ’99, a staff writer for The New Yorker, is the author of the newly published novel “The Idiot.” The book chronicles the experiences of Selin Karadag, a Turkish American beginning her freshman year at Harvard in 1995. Batuman spoke with The Harvard Crimson about her writing process and sources of inspiration, both literary and autobiographical.
In the final season of Lena Dunham’s often controversial, often hilarious, TV series, the self-professed “voice of her generation,” Hannah Horvath, finds herself (for the first time in a long time) on what seems like an upward career trajectory that might finally lead her towards maturity.
“We have statues to pee on,” says one of the characters, a Harvard student, while encouraging another to hurry up in “Little to Do with Anything.” Kirkland Drama Society’s newest production—its annual, very loose adaptation of a Shakespeare farce—is a version of “Much Ado About Nothing,” relocated to Cape Cod and set a week before graduation.
It seems likely that the titular sirens are not meant to allure—rather, they are a political alarm. “Sirens,” Jaar’s most socially engaged album to date, is a surprisingly mature exploration of the connections between the current political realities of both Chile and the U.S., and his relationship with his father.
“Embodied Absence: Chilean Art of the 1970s Now” is a new exhibition at the Carpenter Center for the Visual Arts, but one might encounter pieces from it, such as Luz Donoso’s “Señalamientos con cuerpo estrecho” (Signage with Narrow Body), while taking a walk through Cambridge. This is not the exhibition’s only unconventional aspect—it also largely involves performance art.
As one could hardly describe Blake as a natural performer, and as his particular brand of sentimental electronica seems unconducive to replication under concert conditions, the substantial success of his live set is remarkable.