Valarie Kaur’s vision for change gathers up opponents into a story, refiguring them as members of one human family.
With the indefinite article “a,” Dickens seems to declare that the story is not about a carol, but is, instead, itself a Christmas carol: a song for the season.
In Mirror Suite, Federico García Lorca explores questions of selfhood using the mirror as his guiding motif, asking how love manages to endure when other people’s interior lives seem so utterly inaccessible, and what it means for an imperfect person to be made in the image of God.
The making of necessary new systems of justice and wellness will not be a single act of creation; it will be—and already is—an ongoing act of collaborative composition.
In the bigger picture of the “life story,” there appear to be no fixed beginnings or endings—only changes.
Reckoning with extreme psychic suffering, Dickinson’s poetic speakers repeatedly confront the boundary between unknowable interior experience and intelligible linguistic testimony.
When the distinction between form and content is difficult to perceive, it can become nearly impossible to articulate the relationship between these supposed opposites. This tangle of questions is not limited to the arts; the problem of form and matter is important to anyone who deals with questions of
Glittering with playful weirdness alongside mystical spirituality, Leonora Carrington’s “My Mother is a Cow” converges with the Christian tradition of divine incarnation and infuses it with queerness.
Italo Calvino’s work reminds us that curiosity itself is a kind of gravity, a pull that is difficult to understand or measure and yet is instinctively, unavoidably felt.
How can feminist theory and art look in the eyes of a future that seems increasingly doomed to eco-catastrophe? And what does that have to do with trickster myths?