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Laurie Garrett, one of the globe's most gifted
writers on global public health issues, has a timely and scary
essay on foreignpolicy.com about the nasty norovirus plaguing athletes in the Olympic village — a bug one expert calls the «perfect human pathogen.»
The LRC runs lively, expert reviews of Canadian books — as well as the occasional foreign title, if
on a Canadian subject or considered alongside Canadian titles
on the same theme — and
essays by some of the country's most thought - provoking
writers.
His
essays on life and faith have been featured at Prodigal Magazine where he has recently been added as a Featured
Writer, as well as at Church Leaders and Faith Village.
While Curran's attempt at diversity is obvious (one
essay is by a lesbian, several are by nonwhite
writers, and at least one is written by a thrice - married «encore bride»), and while the authors subscribe to a range of opinions
on what constitutes a meaningful wedding, the
essays tend to merge into one witty, young - hip - and - urban and mostly forgettable voice.
It all started a few years back when, as the senior editor of a Jerusalem - based journal of public thought, I ran into trouble
on a 10,000 - word, brilliantly researched
essay about Israeli social policy composed by the sweetest man
on earth who, unfortunately wasn't a stellar
writer.
This compendium brings together reviews and
essays written over many years
on a comprehensive range of
writers (many of them Catholic), politicians, actors, painters, historical figures, and so
on.
This is no less true of Warren's literary criticism, whether in such ambitious works as the famous
essay on The Rime of the Ancient Mariner («A Poem of Pure Imagination: An Experiment in Reading»), the more modest but nonetheless incisive
essays on such
writers as Eudora Welty and Katherine Anne Porter, or in the textbooks themselves — just hardheaded practical sense for anybody who loves literature and believes it is an autonomous discipline and not a substitute for anything else.
The
essays gathered in The Twilight of the Intellectuals, most of which were first published in the New Criterion, constitute a mordant retrospective
on what Julien Benda early in the twentieth century called la trahison des clercs — the treason committed by modern intellectuals (who were mostly middle - class
writers, scholars, and artists) against the principles and institutions that had nurtured them.
Gioia's latest
essay, «The Catholic
Writer Today,» published in the December 2013 issue of First Things, bears a striking resemblance to his Atlantic
essay on poetry: Like its predecessor, it takes in a wide sweep of literary history, pointedly details a deplorable situation — «Catholicism currently enjoys almost no positive presence in the American fine arts» — and seeks to rally those who care to action.
This article, like our August cover story, appears as a chapter in Martyrs: Contemporary
Writers on Modern Lives of Faith, a collection of
essays edited by Susan Bergman (Harper San Francisco).
Equally puzzling is the inclusion of Edmund Leach's
essay «Fishing for Men
on the Edge of the Wilderness,» which has little to recommend it but the author's eminence as perhaps the world's leading structural anthropologist — who here wishes to demonstrate that structuralism enables a style of biblical exegesis not unlike «the typological style of argument employed by the majority of early Christian
writers.»
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It features traditional recipes such as Miso - Seared Scallops, Pinched - Noodle Soup with Pork, Salmon - Stuffed Kelp Rolls, and basics like rice, stocks, and sauces, along with sake pairings and
essays on Japan in recovery from journalists and food
writers.
Then,
writer Rembert Browne talks about his
essay on Thanksgiving in Atlanta.
Included are
essays on the dinger by
writers such as Robert Creamer, David Halberstam, Donald Honig, Leonard Koppett, Ed Linn and Ray Robinson.
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Still, when they were reading through
essays they'd collected for their 2006 anthology, «Only Child:
Writers on the Singular Joys and Solitary Sorrows of Growing Up Solo,» Daphne Uviller and Deborah Siegel realized that whether the contributors liked being only children or not, there was a commonality — a sense of longing.
There have been a lot of
essays recently (and even a published anthology of
essays) in which
writers have shared their personal reflections
on what Michelle Obama's legacy has meant to them.
This issue features an exclusive
essay by bestselling author Ann Hood, as well as work from your favorite Brain, Child
writers who once again examine life with their teens in thought provoking
essays designed to provide readers with different perspectives
on what many say are the most challenging of the parenting years.
A widely published
writer on contemporary art with a focus
on issues of sexuality and representation, Kate is the author of numerous articles and museum catalog
essays as well as three books.
In 1993 the science - fiction
writer Vernor Vinge wrote an
essay on this particular kind of future.
Science
writer Ann Gibbons summarizes these questions and provides a good opportunity not only to read her article in Science but also visit the Homo habilis
essay elsewhere
on this website and become reacquainted with these questions.
Last season, for example, excerpts from a moving
essay by Pulitzer Prize - winning critic Hilton Als
on iconic black author James Baldwin and his queer «children» provided the philosophical context, and prior to that, there was a poem by Lynette Yiadom - Boakye, the British - Ghanaian painter and
writer.
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On Religion in SF and Fantasy Interview
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writer Orson Scott Card, introduction of the Enders example..
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Writer Amy Chua shocked the world with her provocative
essay, «Why Chinese Mothers are Superior,» when it appeared in the Wall Street Journal earlier...
Reading Reverse Shot can be akin to perusing a
writer's cherished, unabashedly enthusiastic
essay that she labored
on until she was certain she'd made a personal breakthrough.
Matt Brown offered an in - depth look
on how the film tackles the dangers of conformism and socialization in his
essay «The Normalized Atrocities of Julia Ducournau's Raw», and earlier today we published an interview with the
writer - director herself, in which she discusses her process as a
writer, the fine - tuning of her cinematic language, and underscores how Raw addresses the subject of human identity in a manner that both challenges and transcends stereotypical conceptions of gender roles.
Half of those pages are devoted to «Take Me with You, Stream,
on Your Dark Journey», a new
essay by comics
writer and historian Gerard Jones.
Although Kirgo is both a good
writer and a good historian, based
on this
essay I feel like she has a bias against horror that retroactively impacts some of the fine work she's done with noir, since horror and noir are opposite sides of the same nihilistic coin.
Features commentary by Davies and Coulter recorded in 2007, a 1992 episode of The South Bank Show profiling Davies and The Long Day Closes, and new interviews with executive producer Colin MacCabe and production designer Christopher Hobbs, plus a booklet with an
essay by Criterion's house
writer Michael Koresky (who is also finishing a book
on Terence Davies).
It's accompanied by a postscript
essay by Collins about his friendship with Spillane and the
writer's changed opinion
on the film Kiss Me Deadly.
The 20 - page booklet an
essay by critic Geoffrey O'Brien, short pieces by young
writers on the film, and art from the film, and there's a small collection of additional ephemera including a map of New Penzance.
«The Whole World Is Watching», an
essay by Film Comment
writer Howard Hampton, celebrates the film with close analysis and background information
on key personnel.
Special Features New 4K digital restoration New interview with cinematographer John Bailey about director of photography Conrad Hall's work in the film New interview with film historian Bobbi O'Steen
on the film's editing New interview with film critic and jazz historian Gary Giddins about Quincy Jones's music for the film New interview with
writer Douglass K. Daniel
on director Richard Brooks Interview with Brooks from a 1998 episode of the French television series «Cinema Cinemas» «With Love From Truman,» a short 1966 documentary featuring novelist Truman Capote, directed by Albert and David Maysles Two archival NBC interviews with Capote: one following the author
on a 1966 visit to Holcomb, Kansas, and the other conducted by Barbara Walters in 1967 Trailer Plus: An
essay by critic Chris Fujiwara
Film
writer Paul Ryan caps things off with a new, informative audio
essay focusing
on the career of Jean Renoir.
Extras include an illustrated paper foldout
on the film including informative text and an
essay by novelist Megan Abbott, New interviews with Coppola, DP Ed Lachman, actors Kirsten Dunst and Josh Hartnett, author Jeffrey Eugenides, and
writer Tavi Gevinson, The Making of «The Virgin Suicides» (1998 documentary directed by Eleanor Coppola) featuring Sofia Coppola; Eleanor and Francis Ford Coppola; actors Dunst, Hartnett, Scott Glenn, Kathleen Turner, and James Woods; Eugenides; and more, Lick the Star, a 1998 short film by Coppola, the official (and odd) music video for Air's soundtrack song «Playground Love,» directed and shot by Coppola and her brother Roman Coppola and an Original Theatrical Trailer.
His early aspiration was to be a
writer, but as he told Matt Zoller Seitz in his book of interviews with and
essays on the director, The Wes Anderson Collection, he was drawn to film when he started reading books by and about filmmakers as a student at the University of Texas, where he met his frequent collaborator Owen Wilson in a playwriting class.
Writer, filmmaker, and New York Film Festival director Kent Jones is the author of Physical Evidence: Selected Film Criticism, and the editor of a collection of
essays on Olivier Assayas.
Based
on the New Yorker
essay by Katha Pollitt, it stars Patricia Clarkson as a New York
writer who works to get her first driver's license after her marriage breaks down.
In what is for all practical purposes his first major film as
writer and director, Ivan Reitman's son Jason, gives us an
essay on how the spoken word can be a tool or even a weapon.