Word: poem
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Because I have often found more comfort in words than in people, I turned to my Norton Anthology of English Literature on that black day after the election. I was looking for something visceral, for a howling dark poem, but instead I found “When I Was One-and-Twenty,” by A. E. Housman: “When I was one-and-twenty/ I heard a wise man say,/ ‘Give crowns and pounds and guineas/ But not your heart away… But I was one-and-twenty/ No use to talk...
...Tamizo I, in which the two men portray a courtesan and a samurai with an intensity that literally defies gravity. Other ukiyo-e scenes were drawn from popular literature, especially the tagasode painting theme?literally "Whose sleeves are these?"?a 17th century meditation on an empty kimono. The original poem inspired numerous still-lifes of clothing and fashion accessories suggesting the essence of a beautiful but absent woman. One example in the exhibition, an anonymous 17th century six-fold screen depicting richly embroidered kimonos on a gold background, shimmers with Klimt-like sensuality...
Heaney spoke of the connection that a poem read out loud forms between speaker and listener, calling it “the thing that passed between us.” Heaney especially emphasized the oral tradition of memorized “rote” verse, citing what Yeats called “entering the belly of the whale...
...world, the tide went out and never returned." But as we get to know the soon-to-disappear Celia (Emily Barclay), whose relationship with a returned war photographer (Matthew Macfadyen) the movie charts, the film's biggest surprise is how far it strays from the book. Neither Celia's poem, the lunar landscape of Central Otago, or indeed the war photographer exists in the novel. For lovers of Gee's taut prose (they include New Zealand Prime Minister Helen Clark, who last month honored the author with an Award for Literary Achievement), the real mystery of this crime story might...
...Away, the piece I have just finished directing, is a haunting poem of a play that, for the past six months, has pushed me to reevaluate the way that I think about how plays are put together by playwrights—and also the many difficult ways in which actors, designers and directors must disassemble plays and subsequently put them back together. As I’ve pulled at Far Away, it has responded in kind: It’s ripped my guts out but it has ultimately also put them back in place...