The challenge of Aloff’s project stands not only in relation to the mass of written material to potentially engage, but in how to remain in keeping with the Library’s undertaking “to celebrate the words that have shaped America” when dealing with an artform that creates a world “where there are no names for anything.”
Typically, people come to London to experience the best of a culture as it manifests itself in its great museums, libraries, and performance venues. London’s green spaces, however, present an allure equally powerful.
For an artist whose career ended with little recognition, the yearly international exhibitions featuring Daumier’s work attest to the staying power of his vision. For James, this embodies the filial connection between the artist and the novelist—with all the love and strife that implies.
The midwife has often been an ambiguous figure both in the history of literature and within the history of labor.
What is to be made of the myriad tales collected in this anthology, some of them connected by geographical proximity and nothing more? Part of the effect is to render the familiar unfamiliar.
Even before he began to devote himself to painting, Van Gogh was gathering layers of experience that provided a way of seeing far beyond the inspiration works of painters he encountered provided him.
How does the idea of the “wild” manifest itself in the lives, and ways of living, that contemporary America remains both fascinated by and deeply ambivalent about?
If a critic can write through a text, in what sense, then, does the novelist write through life?
Samantha Peale’s 2010 novel opens with a celebrated painter standing alongside his regular, slightly awe-struck collectors, directing his assistant as she finishes a moody seascape for him.
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