The House of Doors by Tan Twan Eng
In Ascension by Martin MacInnes
All the Little Bird-Hearts by Viktoria Lloyd-Barlow
This Other Eden by Paul Harding
How to Build a Boat by Elaine Feeney
If I Survive You by Jonathan Escoffery
Study for Obedience by Sarah Bernstein
How Yevgeny Prigozhin’s private military company went from fighting alongside Russian forces in Ukraine to staging a mutiny at home.
By Joshua Yaffa
Babylon was everything forbidden, and looming all around us—and my father tried to protect us from it at all costs.
As the founder of Adventures with Purpose, Jared Leisek carved a lucrative niche in the YouTube sleuthing community. Then the sleuths came for him, Rachel Monroe writes.
THE NEW YORK TIMES BOOK REVIEW – JULY 30, 2023:
On this week’s cover, we feature biographies of composers Arnold Schoenberg and Wolfgang Amadeus Mozart that emphasize the extent to which each was a singular genius attuned to his culture and times; our reviews are by Anthony Tommasini (formerly The Times’s chief classical music critic) and the composer John Adams.
In Patrick Mackie’s “Mozart in Motion,” the socially observant composer embraces modernity.
Musicians tend to be wary of ascribing specific meanings to music or making too much of a piece’s extra-musical associations. In one of his Norton Lectures at Harvard in 1973, turning to Beethoven’s “Pastoral” Symphony, Leonard Bernstein asked the audience to forget all about “birds and brooks and rustic pleasures” and instead concentrate on “pure” music. He then demonstrated how every phrase of the entire first movement is derived from little motifs of notes and rhythms in the first four bars of the score.
John Adams reviews “Schoenberg: Why He Matters,” in which Harvey Sachs explores the artistic, academic and spiritual life of a 20th-century cultural giant.
In 1955 Henry Pleasants, a critic of both popular and classical music, issued a cranky screed of a book, “The Agony of Modern Music,” which opened with the implacable verdict that “serious music is a dead art.” Pleasants’s thesis was that the traditional forms of classical music — opera, oratorio, orchestral and chamber music, all constructions of a bygone era — no longer related to the experience of our modern lives. Composers had lost touch with the currents of popular taste, and popular music,
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ON AN UNUSUALLY rainy evening in Los Angeles this March, at the Thomas Mann House in Pacific Palisades, two investigative reporters from Germany gave a talk about a financial scandal known as “cum-ex.” Against the backdrop of a mid-century modern terrace, its polished cement looking dull and gray in the storm, the pair flashed through a series of slides about international tax embezzlement.
A relatively small drip of funds from the German cultural ministry sometimes supports talks like these in the name of Mann’s legacy. When the capital of German literary life was exiled to Los Angeles around the Second World War, the author built a home that now still hosts salons in the name of democratic cultural exchange.
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THE YEAR WAS 1971, the place Łódź. Journalist Hanna Krall was interviewing a pioneering heart surgeon named Jan Moll. The good doctor, apparently unhappy with the outcome of previous interviews, told Krall that everything journalists ever wrote about medicine was nonsense. So, if she wanted to avoid doing the same, he strongly suggested she have her article vetted by a certain cardiologist, a Dr. Edelman, who, said Moll, would correct her mistakes. Krall agreed and arranged a meeting. She sat down with Marek Edelman in the Grand Hotel café, where it took 15 minutes for him to read through her article.
With a common touch that appeals to juries and a client list that includes Elon Musk, Jay-Z, and Megan Thee Stallion, he’s on a winning streak that makes his rivals seethe.
From the issue of July 31, 2023
In the summer of 2018, four years before he bought Twitter, the entrepreneur Elon Musk was facing legal consequences for two of his more reckless forays on the social-media platform. A boys’ soccer team in Thailand had been trapped in a flooded cave for more than two weeks, and a caver involved in the rescue said on CNN that a bespoke submarine Musk had sent to save the children was a “PR stunt.” Infuriated, Musk told his twenty-two million Twitter followers, without basis in fact, that the caver, Vernon Unsworth, was a “pedo guy.” The tweet went viral, and Unsworth’s attorney threatened to sue Musk for defamation.
The dealer has been so successful selling art to masters of the universe that he has become one of them.
It was the Friday afternoon of Memorial Day weekend on Further Lane, the best street in Amagansett, the best town in the Hamptons, and the art dealer Larry Gagosian was bumming around his eleven-thousand-square-foot modernist beach mansion, looking pretty relaxed for a man who, the next day, would host a party for a hundred and forty people. A pair of French bulldogs, Baby and Humphrey, waddled about, and Gagosian’s butler, Eddie, a slim man with a ponytail and an air of informal professionalism, handed him a sparkling water.
June 24 – October 9, 2023
This Japanese artist seeks inspiration from his surroundings to bring attention and awe to viewers, as a way of sending warnings about the painful reality of environmental disasters. Central to his practice are metaphors of grief and the undeniable aspects of life that are often beyond society’s control, including the fundamental forces of Mother Nature. Ikeda’s drawings also reveal human resilience and the ability to rise above devastating situations when it appears impossible.
Curated by Kiriko Watanabe, the Audain Art Museum’s Gail & Stephen A. Jarislowsky Curator, this is Ikeda’s first solo retrospective in North America showcasing over sixty works from national and international collections. Flowers from the Wreckage includes Foretoken (2008), Meltdown (2013) and Rebirth (2013-16), a selection of Ikeda’s large-scale drawings that relate to the 2011 Great East Japan Earthquake; the most devastating earthquake, tsunami and nuclear power disaster in the country’s recorded history.
Manabu Ikeda: Flowers from the Wreckage will be on display in the AAM’s Tom and Teresa Gautreau Galleries from June 24 to October 9, 2023. A full colour exhibition catalogue featuring essays by Kiriko Watanabe and comments by Manabu Ikeda will be available for purchase in the Museum Shop.
pen and acrylic ink on paper, mounted on board, 17″ x 23″ (Takahashi Ryutaro Collection, courtesy the Audain Art Museum, Whistler, B.C.)
Manabu Ikeda Studio Gallery
A studio has been set up in the Museum’s architecturally stunning Upper Galleries, where visitors have the opportunity to observe the process of Ikeda drawing his latest work and interact with him during open studio hours.
Manabu will be in studio on Thursdays, Fridays, and Saturdays, from 3:00pm to 4:30pm until August 30. Museum guests are encouraged to come and witness the Artist’s incredible talent and learn more about his techniques. The studio will be open for viewing Thursday through Monday until September 4.
THE NEW YORK TIMES BOOK REVIEW – JULY 23, 2023:
The Pulitzer-winning novelist discusses the sequel to his 2021 crime story “Harlem Shuffle.”
A museum in England devoted to the best-selling children’s author, who died in 1990, condemned his antisemitic views.
James Lasdun
John Burnside
Florence Sutcliffe-Braithwaite
Deborah Friedell
James Butler
Tennessee’s government has turned hard red, but a new set of outlaw songwriters is challenging Music City’s conservative ways—and ruling bro-country sound.
On March 20th, at Nashville’s Bridgestone Arena, a block from the honky-tonks of Lower Broadway, Hayley Williams, the lead singer of the pop-punk band Paramore, strummed a country-music rhythm on her guitar. A drag queen in a ketchup-red wig and gold lamé boots bounded onstage. The two began singing in harmony, rehearsing a twangy, raucous cover of Deana Carter’s playful 1995 feminist anthem “Did I Shave My Legs for This?”—a twist on a Nashville classic, remade for the moment.
The Governor’s strategy for revitalizing her state has two parts: to grow, Michigan needs young people; to draw young people, it needs to have the social policies they want.
THE NEW YORK TIMES BOOK REVIEW – JULY 16, 2023: This week, Jeff Goodell’s “The Heat Will Kill You First,” feels particularly apt. “This is a propulsive book, one to be raced through; the planet is burning,” writes our critic Jennifer Szalai. But maybe you don’t want to think more than you already do about impending doom. We’ve got you covered: The issue brims with diversions — a charming novel about a reality TV show set on Mars, fiction about complicated families and a slew of good memoirs, including ones from a senior intelligence official, the war reporter Jane Ferguson and the actor Elliot Page.
In “The Heat Will Kill You First,” Jeff Goodell documents the lethal effects of rising temperatures and argues that we need to take hot weather a lot more seriously.
In Deborah Willis’s novel “Girlfriend on Mars,” a young woman enters a reality-TV contest to leave the planet, and her marijuana-farming boyfriend, behind.
GIRLFRIEND ON MARS, by Deborah Willis
Sometimes, a girlfriend needs space. Sometimes, she goes to space. That’s the — OK, obvious — premise of “Girlfriend on Mars,” a novel by the Canadian writer Deborah Willis, who knows what we’ve wished for from books all along, which is that they were TV instead.
Boomers Daily 