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...kind of melancholy. In “Apes,” he wonders, “Could I have passed through my own golden age and not even known I was there?” What is more, Williams acknowledges the wide breadth of his literary knowledge, but also hints that such erudition is not necessarily satisfying or comforting. In the same poem, he writes, “It occurred to me I’ve read enough; at my age all I’m doing is confirming my sadness.” Reading, after all, brings...
...style. He meditates on subjects ranging from war to desire, from nature to literature. While he often employs the long, fluid lines characteristic of so much of his work, as in his poems “Brain” and “Apes,” he also tries out more chiseled, succinct forms in poems such as “Vertigo” and “Rats.” Even as he displays his virtuosity as a writer, however, Williams remains humble and unassuming, calling himself at one point “a long-faced, white...
...even amidst his contemplations of selfhood and subjectivity, Williams also continually returns to the vivid observations that give his work such buoyancy. In “Riot,” Williams evokes the music of dawn’s approach after a tumultuous, sleepless night: “The first dawn crows / sound like humans imitating crows, / but hungrier than crows, or more afraid. / The rising light gilds / then slashes red the fallow fields.” Throughout “Wait,” Williams consistently reveals perceptions of the world unique to his own alert senses...
...Christine K. L. Bendorf ’10 are paired well as the Baker and his Wife, and the subtle evolution of their relationship over the course of the play forms a solid center for the many intertwining stories. A Sondheim veteran, Bendorf (who also acted as Johanna in 2008’s Mainstage production of Sondheim’s “Sweeney Todd”) creates a character that is equal parts practical and provocative. While maintaining her character’s witty charm, she effectively poses the moral questions of the play, at one point singing...
...Witch, whose curse the Baker and his Wife are trying to undo, undergoes a more dramatic physical and emotional transformation. Her role is also perhaps the most vocally taxing, a responsibility which Megan L. Amram ’10 pulls off with ease. Amram is by turns menacing, sympathetic, and hysterical as she belts, croons, and chants her way through the woods...