‘All at once, it felt nihilistic and misguided. I had been on this extended fast, but it was devoted to absent men and not any real god. As such, there had been no revelation or resolution, no peace.’
Christiana Spens on Lent.
‘All at once, it felt nihilistic and misguided. I had been on this extended fast, but it was devoted to absent men and not any real god. As such, there had been no revelation or resolution, no peace.’
Christiana Spens on Lent.
‘So what is the power of literary fashion, then? For me it lies in its virtuality, that imaginary quality of the ekphrastic, something so beautiful that it cannot exist in real life as we know it on the page. That virtuality also ties into the codification of clothing, and how it might suggest something about its wearer without saying as much.’
Katie Tobin on the Bloomsbury Group and fashion.
‘In other words, there is a love that waits, and it has been and is being published in Latvia – as well as elsewhere – right now, before our eyes.’
Ivars Šteinbergs on Latvian poetry.
‘If the meaning of a poem is obvious without breaking scrolling pace, then a core aspect of the form has been lost.’
Lee Hatsumi Mayer on the Romantic poets today.
‘Both contemporary pieces seek to build on this revolutionary choreography rather than imitate it perfectly, yet both acknowledge that Nijinska’s work marked key developments in the world of choreography, bridging the gap between one century and the next in the world of classical dance. So how did it come to pass that now she is known primarily as a keeper of her brother’s career?’
Esmee Wright on Bronislava Nijinska.
Pacifica Goddard on Hetch Hetchy & The Greatest Good
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