The shavings curled from my plane the afternoon she stood a shadow in the door and spoke the single syllable. I thought, So soon, but deep in me a harmony awoke, a rhythm lost in the hammer song I made furnishing the world chair by chair, bed by bed. Her single word was Go. My debt was paid. Joseph’s memory would be satisfied: My craft would find its end in speech—the Word voiced as once when spoken it divided light from dark and all Creation bloomed. I heard my father in her voice. Both sadness and delight indwelt the shop, as if the two were one as they may be when the work of wood is done.
Rickie Lee Jones broke into the music business in 1979 with the jazz-pop novelty hit “Chuck E’s in Love,” and she has been a maddening enigma ever since. At best she’s inconsistent, at worst she’s the embodiment of the tortured artist: all tantrum and attitude with little worthy fruit to show.
in a pink shirt the reporter speaks his voice ripe with excitement while behind him the Wave crashes over and over the same bodies flung like broken sticks which in an instant they have become bundled into body bags bulging on the shredded sand though when we return we’ll hear from one survivor in a wheelchair whom we glimpse smiling as the scene shifts to a woman waltzing across her kitchen dazzles as she holds high a ziplock bag not large enough for bodies no but fruit she says stays fresh for days.
If you found the first two installments of the Spider-Man series poetic, imaginative and impassioned, you’re likely to experience an unpleasant jolt at Spider-Man 3. The first two pictures were built on beautifully worked-out fantasy scenarios that operated as metaphors for the emotional development of the main character, Peter Parker (Tobey Maguire), aka Spider-Man.
It seems like yesterday that Indian-born director Mira Nair burst onto the international scene with Salaam Bombay! about the street children of that sprawling Asian city. In fact, it has been almost 20 years. During that time Nair has carved out an impressive career with such culturally sensitive films as Mississippi Masala, Kama Sutra and Monsoon Wedding.
You can snarl and rage and roar and snipe at thugs and liars, Sure you can, and right you are for doing so, and you maybe Actually enjoy letting the lava soar out all righteously, right? But even so, there are lies inside you like viruses. You know What I am talking about; we don’t need to go into any detail. And we have been too familiar with a little thuggery, haven’t We? Not battery: You’ll say, rightfully, that you are innocent. No: I mean the times you knew about assault and battery, and Did zero. We just stood there. We pretend to be fascinated By something else that just happened to be happily elsewhere. We turned our heads, so it looked like we just hadn’t noticed; We can surely be excused if we didn’t see it, right? Right?
During Hitler’s siege of Leningrad in the winter of 1941–42, the Russian composer Dmitri Shostakovich and the entire Leningrad Philharmonic were evacuated from the city. A performance of Shostakovich’s seventh symphony, dedicated to the city of Leningrad, was planned for August 9, 1942. There were barely enough musicians left in the city to perform it. The score had to be flown in over German lines, and musicians were pulled from the front lines to bolster the meager ranks of musicians left behind. This performance was a show of resistance in a city which had just lost 1.2 million people (NPR, November 2).