Books and Arts
Little brook, running past my house, I like the tune you hum to yourself When night comes, And only the two of us are awake. You keep me company So I don't fear The darkness round my bed And the thoughts in my head Flying crookedly like bats Between the old church and the graveyard. This poem appeared in the September 13, 2012 issue of the magazine.
All we got, mister, Is an empty bowl and a spoon For you to slurp Great mouthfuls of nothing, And make it sound like A thick, dark soup you’re eating, Steaming hot Out of the empty bowl. This poem appeared in the September 13, 2012 issue of the magazine.
You can always count on the anti-traditionalists to come up with their own cockamamie traditions. And The Painting Factory: Abstraction After Warhol—which I caught at the Museum of Contemporary Art in Los Angeles just before it closed the other day—is about as nutty as they come.
It has been fashionable in the wake of Wade Michael Page’s tragic acts in Wisconsin to speculate on whether the White Power music he listened to helped stoke him into the senseless murders he committed. Such speculations, however, are as incoherent as they are pointless—and they are marked, above all, by a cloying air of self-congratulation. A comparison with another musical genre helps put the debate into relief.
Parker Posey’s guest appearance on the season premiere of “New Girl”—announced earlier this week—will mark the first time that Posey, “indie queen” of the ’90s, has shared a screen with Zooey Deschanel, indie queen of the millennial set. Time magazine gave Posey the title in 1997, after she starred in a string of low-budget independent films such as Party Girl and Dazed and Confused. And Deschanel, in the past few years, has been similarly anointed by outlets from New York magazine’s Vulture blog to NPR. What makes an indie queen?