Meghan O’Gieblyn
Leaving the Fold
The memoir of a former nun who left her convent after twelve years reveals the contradictions of the monastic life as well as the limits of memoir.
Adom Getachew
Black Atlantics
The scholar Louis Chude-Sokei does the urgent work of reimagining the African diaspora as multiple diasporas.
I Can’t Stop
rubbing the filters back and forth
through a knob on the screen that’s coded
to brush glaze and bury echoes
on photographs my oiled finger pads
never once touched
So much past arrives on my screen
coupled with soft pings in the pocket
strange temple bell…
Aryeh Neier
Is Israel Committing Genocide?
I have been engaged for six decades in the human rights movement, which has endeavored to restore peace by enforcing International Humanitarian Law. Can the law bring a measure of justice to the victims of Israel’s and Hamas’s violence?
Nikil Saval
Nowhere But Up
In the wake of the 1964 Harlem riots, June Jordan and Buckminster Fuller’s plan to redesign the neighborhood suggested new possibilities for urban life.
Free from the Archives
Cole Porter, the naughtiest of the Tin Pan Alley composers, was born on this day in 1891. Brad Leithauser reviewed the “scattered and skeletal” accounts of Porter’s life in the November 5, 1998 issue. Despite Porter’s forward-thinking raciness, which landed him in near constant trouble with the censors, Leithauser writes, “if Tin Pan Alley today looks dated, Porter’s music can seem especially so. The virtues of wit, elegance, irony, and the distrust of self-pity which he embodied are those least valued in the popular music of our era.”
Brad Leithauser
He’s the Top!
The driving riddle and triumph of Porter’s life was that a man so leery of failure made a career of writing for the stage, where flops are sudden, spectacular, and mortifyingly public.
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