One of the many things I have found so moving and gripping about classical Japanese literature is how concrete the worldview is. Here is a sensibility that is deeply enmeshed in the world and looks for beauty in the imperfections of nature, in the corrosive effects of time.
Danez Smith’s second book of poems, Don’t Call Us Dead, takes up the project of rehumanizing black lives, reshaping lament into forward-looking prophecy. The collection’s opening epic poem, “summer, somewhere,” acts as a book of re-creation, turning premature mortality into a revived, embodied love drawn from the earth itself.
It is no easy feat to nurture a literary project while far away from the epicenter of publishing activity, yet Tragaluz has made it work in a spectacular manner.
Meek Mill’s latest album Wins & Losses confronts what it means to be a young black American. With songs such as “Young Black America,” Meek questions whether the black church has turned its back on the black youth.
With origins dating back more than two thousand years, the Sanskrit epic, the Mahābhārata began as a collection of myths and stories that over the course of several centuries, came to be unified in a meandering and wildly digressive work.
In her memoir This Close to Happy: A Reckoning with Depression, New York writer Daphne Merkin calls herself “a poor little rich girl” before anyone else can; raised by philanthropist parents on Park Avenue, her financial privileges are plain.
If New Jersey is oftentimes known for being perpetually overshadowed by its neighbor New York, then William Carlos Williams’s epic five volume poem entitled “Paterson” certainly helped put it on the map.
Arthur Clarke’s Childhood’s End establishes the amateur astronomer as a major name in the last days of the golden age of science fiction. Clarke is “equally at home in the outer galaxies and the troubled psyche of modern man,” states a review in the New York Times.
“The Yellow Wallpaper” was published in 1892 by Charlotte Perkins Gilman and remains a staple of early feminist fiction. In 1983, Doris Lessing responded to Perkins Gilman’s classic story with “To Room Nineteen,” in part to point out how little had changed in the lives of women.
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