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Introduction

“TO DWELL IN A MYTH is to dwell in a prison.” It takes a few paragraphs, but eventually that’s how Mahmoud Darwish boils it down, in an interview published in these pages, translated by Amira El-Zein and Carolyn Forché. Myths are prisonhouses; if they don’t fall, they make us dream, as Darwish did, of breaking out. For young writers in the United States, such words may seem strange, coming from a poet whose words express the dreams of an entire nation. In this country, the number of creative writing programs continues to mushroom at a rate most often found in Ponzi or pyramid schemes, with thousands of young writers each year earning their M.F.A.s and Ph.Ds. Their dream is to break in, not out. For some, Darwish may already be a central figure in their personal pantheon, even if they’ve never visited a country where poets draw rock star–sized crowds, much less lived or grown up in one. Though he is also central to ours, we’d still think...

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poetry

(siege)

Baiba Bičole, translated by Bitite Vinklers

fiction

The Sea

Silvina Ocampo, translated by Suzanne Jill Levine and Katie Lateef-Jan

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“We are the heirs of a legacy of creative protest [...] the teachings of Thoreau are alive today, indeed, they are more alive today than ever before.”

—REV. MARTIN LUTHER KING, JR. (MR 4.1, Autumn 1962)

From the Blog

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10 Questions

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I flushed that flock of doves three times.
An hour’s worth of wingbeats in a rush
and then a rush and then a rush.—From “Walking on a Path by Fisher Creek, I Flushed a Flock of Doves,” Volume 60, Issue 3 (Fall 2019)

Tell us about one of the first pieces you wrote.
The first thing I wrote that I think still holds up, I wrote when I was about fifteen. I had a Livejournal, which was an early blogging platform. And some of the stuff on there I still find very funny. There were some poems, but mostly just silly riffs. Like here's one I went back and found:

There are three towels in my room.

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...

Favorite Things

William Forsythe’s A Quiet Evening of Dance: A Meditative Choreographic Act

- By Mark Franko

Photo: Ander Zabala (left), Parvaneh Sharafali (right) in A Quiet Evening of Dance. Photo: Mohamed Sadek. Courtesy of The Shed.

This fall Peter Brook presented Why?, a play-as-conversation between three actors in which they reflect intellectually and performatively in deftly sketched scenes on theater-making from the actor’s perspective. This chamber work, composed of discussions about the actor’s craft, is directed in part toward the audience with no lack of enlightening, whimsical, and sometimes quite moving illustrations. Why? is a theoretical and historical brief on theater’s infinite possibilities and mortal dangers, a fit addition to the distinguished career of Peter Brook, which now spans seven decades. In the play’s...




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