Issue 2.4

‘Salt Lake Sonnet,’ ‘Meno Pause,’ & ‘Confidence Men’

SaltĀ LakeĀ Sonnet Basalt rocks, gnats, red sea, plankton, skin fried. Holy Water cafe: where blondes eat sweets. Extinction all in CAPS. All signified. Hot Dome;Ā saltĀ dust. Canada’s forest heats. Bible landscape. A geologist shows me some Quartzite rock—my name—also in vain. What is worth saving now; the sand, seas, Spiral Jetty & other weathervanes. Geologic time? Yet we still decay: Oil pipelines mock parks; ski lifts snark Nature Smoke; 100 degrees! More *sad face* days. Without words,Ā we

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‘Welcome to the Hyunam-dong Bookshop’ By Hwang Bo-reum, translated by Shanna Tan

Bloomsbury, February 2024, 320 pp. Like all first signs, it was easy to dismiss. Even more so since it came from an English teenage model. I was hanging out with her godmother during Paris fashion week about five years ago. As we left an event and passed a scrum on the streets, the girl stopped in her tracks. She’d seen a member of BTS. I was barely aware of what that was. A Korean boy

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‘You’ll Do: A History of Marrying for Reasons Other than Love’ By Marcia A. Zug & ‘Splinters: Another Kind of Love Story’ By Leslie Jamison

Steerforth, January 2024, 336 pp. Along with enticing images of gowns, news about celebrity weddings, and tips for choosing rings, a recent issue of Brides magazine offered ā€œ65 Happy Marriage Quotes that Will Inspire Every Couple.ā€ The quotations, by Elizabeth Barrett Browning and Justin Timberlake, George Clooney and Alfred, Lord Tennyson, among scores of others, celebrate love, romance, and the enduring happiness that marriage can bestow. ā€œBe married to your best friend,ā€ Sting advises, for

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‘Art Monsters’ By Lauren Elkin & ‘Dana Schutz: Jupiter’s Lottery’ at David Zwirner

Farrar, Straus & Giroux, July 2023, 354 pp. To make art in a monstrous world, must we embrace the monstrous? Lauren Elkin’s newest book, Art Monsters: Unruly Bodies in Feminist Art, is a meditation on this question. Elkin takes her title from Jenny Offill’s 2014 novel, Dept. of Speculation, in which the narrator, a character named only ā€œthe wife,ā€ tells us ā€œMy plan was never to get married. I was going to be an art

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‘to light, and then return—: Edmund de Waal and Sally Mann’ at Gagosian, September 14–October 28, 2023

Ā© Sally Mann. Photo: Rob McKeever, Courtesy Gagosian. In a storied career spanning nearly fifty years, the photographer Sally Mann has known no shortage of either acclaim or controversy. Her latest exhibit at Gagosian, to light, and then return—, shows work as new, serious, and beautiful as anything she ever has made, but it seems to have escaped much attention. The title, a line from Emily Dickinson, suggests an interstitial space between two states, a

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‘The Shining’ By Dorothea Lasky

Wave Books, October 2023, 88 pp. The writing mind is a haunted house ringing with the voices of the dead. When I told her that I’d never seen the film, Dotti was astounded. It was raining. From beneath the awning, the air was washed with streaky neon and headlights. Dorothea Lasky was dressed brightly, characteristically. She was exhorting me in her particular fashion, an alternating current of insistence and surrender (you have to see it

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‘The Loneliness Files’ By Athena Dixon

In 2012, responding to reports of a foul odor, a New York landlord discovered the groundbreaking feminist theorist Shulamith Firestone dead in her apartment. It was estimated her body had been there for a month. Firestone, who lived reclusively, had been diagnosed with schizophrenia in the 1980s. Still, it’s hard to ignore the implications: the author of The Dialectic of Sex, that scorching takedown of romantic love, met a tragic spinster’s end. ā€œDo you ever

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‘Martha Graham, A Life: When Dance Became Modern’ By Neil Baldwin & ‘Errand into the Maze: The Life and Works of Martha Graham’ By Deborah Jowitt

Graham and Ted Shawn in Shawn’s duet, Malagueña, 1921. Photograph by Albert Witzel. Jerome Robbins Dance Division, the New York Public Library. Martha Graham (1894–1991), whose dances—and the evolving technique for how to perform them—dramatically upended what audiences expected from theatrical dancing, did not identify as a choreographer. She was a dancer, even after she retired from the stage in 1970—a priority that affected the construction, content, and tone of her 181 works and determined

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