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...Sound and the Fury” articulates the roles of the three Compson brothers in the family’s decline. The comedic power of the novel is most evident in the third section, narrated in the bitterly sardonic voice of Jason. The tone abruptly changes with the first sentence of the section when Jason announces, “Once a bitch always a bitch, what I say.” The fatalistic overtones of this decree permeate Jason’s narration as he mocks almost every character he meets. Faulkner uses Jason’s cruel humor...
...first piece of the evening, Chopin’s Piano Concerto No. 1 in E minor, featured the HRO concerto competition winner and internationally distinguished pianist Kenric Tam ’12. With the orchestra’s bold opening and the emergence of the lyrical second theme, beautifully introduced by flautist Irineo C. Cabreros ’13, Tam took to the stage with breathtaking expression. Though the orchestra’s complementation of his performance was not perfect at times, Tam displayed a uniquely sensitive and heart wrenching interpretation of Chopin’s first piano concerto. Especially...
...evening could have had no better finale than Johannes Brahms’ Symphony No. 3 in F major. Cortese skillfully guided the interplay of violins, cellos, French horn, and oboe through the thick harmonies of the first and second movements. The highlight of the evening’s performance was undoubtedly the third movement, with a hauntingly poignant melody that does not easily leave memory. Driven by the orchestra’s momentum, Cortese led the fourth movement to the evening’s positively triumphant conclusion...
Since the beginning of his poetic career, Lerner has experimented with form and structure. His first collection, “The Lichtenberg Figures,” is entirely composed of sonnets, while his second, “Angle of Yaw,” which was announced finalist for the 2006 National Book Award, is made up of prose poems. Having explored these two extremes, Lerner is now searching for something in between—a form that includes the structure of sonnet and the freedom of prose...
...form, along with the content, renders the book a single, prolonged conversation. At first glance, “Mean Free Path” appears to be a collection of short, untitled poems. But here, the absence of titles is significant; the obscured distinction between poems is strengthened by Lerner’s intentional thematic repetition. That is, thoughts that were mentioned at the beginning of the book are repeated throughout the book over and over again—often in the same exact words; somewhat as if Lerner were attempting a modernized sestina...