Word: poeticisms
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Among the courses being offered through the center this semester are "Homer's Poetic Justice," taught by Jones Professor of Classical Greek Literature Gregory Nagy, and "Privacy in Cyberspace" with Bromley Professor of Law Arthur R. Miller...
...walks the line. Between gangsta-leaning and Godfearing, between lustful and romantic, between the poetic and the scatological. He has starred in a movie (director Hype Williams' Belly), performed high-profile duets (with Mary J. Blige and Lauryn Hill), and dodged death (when his friend and fellow New Yorker Biggie Smalls was shot and killed in 1997, Nas went into virtual seclusion, fearing for his life). He's proud but not bombastic, he's casual in tone but almost always serious in content, and although his raps are deeply personal, he strives for the prophetic. He's a craftsman...
Winterson's less poetic efforts suffer from lapses into sentimental philosophizing, as if she momentarily invokes the Hallmark Muse. I'm all for stories that convey basic truths about humanity, but I'm against the author obtrusively pointing them out for me. I'm not even sure I know what a platitude like "The future is still intact, still unredeemed, but the past is irredeemable" from the story "Orion" means. Are our futures really that predetermined? And of course "the past is irredeemable"--It's already happened; it's gone. It's tautologies like that that make me lash...
Although the play came together under Hostetler's vision, it would not have come off half as well without some truly exciting acting. Prince brought his boyish looks to bear on the idealistic Gross and was at his best when Gross waxes poetic about his best when Gross waxes poetic about his subverted boyhood dreams--scenes milked for maximum farcicality by a witty combination of set props, lighting and nostalgic music. Prince was complimented and almost upstaged by a courageous performance by Mowth as the fast-talking Machiavellian, Ballas. In the most difficult role in the play, Mowth demonstrated...
...child's arm stretches out, as far as it can, to pour water from a cup onto a scruffy potted plant. This, the first image in Samira Makhmalbaf's The Apple, introduces with poetic clarity the film's strange, true story: of 12-year-old twin girls imprisoned by their father in their Tehran home, away from sunlight, from the friendship of other kids, from the smallest ecstasies and exasperations of childhood. This wise, poignant film was made under unusual circumstances. The father and the girls were persuaded to play themselves, and Makhmalbaf was only 17 when she shot...