In 1941, while residing in Santa Monica, Thomas Mann mused, “What today is the meaning of foreign, the meaning of homeland? . . . When the homeland becomes foreign, the foreign becomes the homeland.” He lived in California for fourteen years before returning to Europe in 1952, his version of the
Women writers have notoriously been absent from the Beat canon. Although memoirs by Joyce Johnson, Hettie Jones, and Diane di Prima, as well as recent academic studies, have challenged this omission, women have been underrated and underrepresented in the movement’s largely male roster. Reissuing
POET AND COMPOSER DICK HIGGINS founded Something Else Press in 1963 to publish the experimental writing and manifestos of the artists, authors, and musicians he knew in connection with the New School in New York City. In 1966–67, he issued a batch of pamphlets, most only sixteen pages in length,
In Words to Be Looked At, art historian Liz Kotz takes on the monumental task of chronicling the use of language in 1960s Conceptual art. She charts its development from John Cage’s scored representations of time and chanced sound through various incarnations, including John Ashbery’s “poetics of
Canadian cartoonist Julie Doucet retired from comics in 1999 after the publication of her critically acclaimed My New York Diary. Her straightforward depictions of life as a broke artist and of her rampant id, as well as her imaginings of what she would do if she woke up as a man (for the most part,
Music journalism in the mainstream press has been on a downward slide for years. Word counts for reviews are declining across the board, readership is drifting to blogs and other online venues, and downsizing of editorial staff at former strongholds of arts criticism, such as the Village Voice, are
In December 1996, the corrupt, discredited Guatemalan military and a decimated guerrilla army signed a peace accord, under United Nations supervision, ending thirty-six years of civil war. Less than two years later, the Guatemalan Archdiocese Office of Human Rights (known by the Spanish acronym odha)
For those familiar with the legends, and the truths, of the German and Austrian migration to Hollywood in the 1930s and ’40s, Otto Preminger’s life serves as an exemplary tale. First, there is his confabulation of Vienna as his rightful birthplace, when in fact he, like Billy Wilder and Edgar G.