“Perhaps all compelling works of art engage the eye differently over time, and expand one’s capacity to see. For me, this is certainly true of Cortor’s work.” In Chicago Review 59:4/60:1, Liesl Olson covers the visual artist Eldzier Cortor, whose work is on permanent display at the Art Institute of Chicago. Read the full essay and interview online!Read more »
from Issue 60.3 (2017)
Issue 56:02/03, Autumn 2011, now for only $5.00
“The question forms of contemporary poetry in the ‘tradition of what is unanswerable’ perform the unanswerable as a specimen of resistance to the logic of commensurability, identity, and equivalence.”
In “Unanswerable Questions,” Joe Luna examines the erotetic in contemporary British and American poetry. Read the full piece here.
“It was also a tribute to the career of one of the most important filmmakers alive. It is, after all, impossible to conceive of the landscape of contemporary American cinema without Lynch. If he didn’t exist we would have to invent him.”
Eric Powell reviews “David Lynch: A Complete Retrospective” at the Music Box Theatre. Read more in Chicago.Read more »
The tragic loss came in 2016. Stop-motion images of death compete unnaturally with his poetics: his poems swivel, cycle, gesticulate, perform.
After death the poems hold their ground in an aesthetic awareness of home, one marked with speciﬁcs of life in Cuba, where Juan Carlos Flores lived in a public housing community that rose out of the ground in a way that could only have happened in certain decades following the 1959 Revolution.
But his poems still move.
Read more in Commentary.Read more »
Reviewed by Jeremy Noel-Tod
Every poetic community knows “that guy.” He—and it is usually he—is the gadﬂy in the ointment, the satirist or critic who mocks the pretensions of the leading figures of the day. “That guy” is not so much an individual talent as a singular pain in the ass. In early eighteenth-century England, he also happened to be the era’s ﬁnest poet, Alexander Pope, who in The Dunciad and the spoof essay “Peri Bathous” laid mock-heroic waste to his contemporaries. Three centuries later, he is known to Internet sociology as a “troll,” lurking below the line as once below the bridge.
Kent Johnson, as this second expanded edition of his “partial memoir,” I Once Met, acknowledges, has long been “that guy” at the avant end of American poetry. Each short section is structured around the conceit of a remembered meeting in the “Poetry Field.” The ﬁfth reads in full:
I once met Marjorie Perloff. This was at the MLA, though I can’t remember the city; it was long ago, I think it was D.C. She is a great critic and an extraordinarily generous person. Kent, this is Bob Perelman, said Marjorie. Bob, this is Kent Johnson. Oh, so you’re that guy, said Bob. What guy? I said.
Read more here: http://chicagoreview.org/reviews/Read more »
A mountain of lime green Jell-O shots greeted theatergoers in the lobby of the Windy City Playhouse on Saint Patrick’s Day. A brash, acerbic, overly sweet welcome, and yet a relatively tame prelude to a bold production of Bootycandy, written and directed by Robert O’Hara.
The play contains what at first appear to be a series of vignettes linked, if narrowly, by common thematics: the expression of desire and the negotiation of gender and class identities in primarily black settings. Concluding the first act is a conference panel at which four exasperated African American playwrights indulge an exasperating white moderator by describing current works in progress—works that we, the audience, have just witnessed. If this mise en abyme comes across as somewhat of a gimmick, the second act cleverly mashes up the different storylines, in addition to abolishing the boundary between said storylines and the brand of meta-commentary on display in the conference scene. What emerges from this creative chaos is an impressionistic epic that covers the journey from childhood to adulthood of Sutter, a black gay man.
Read more in ChicagoRead more »
Chicago Review looks forward to seeing you at #AWP15. We’ll be at table 755 with the University of Chicago’s Creative Writing & Poetics crew and the lovely people from the University of Chicago Master’s in Humanities program.
Drop by for a sneak peek at pages from our upcoming 59.1/2, witty repartee, and deals on subscriptions and back issues. Keep your eyes peeled on Facebook for news about a top-secret get-together on Saturday night (4/11/15), and listen in live as we tweet the conference away: @chireview.
Conversation with Clark Coolidge
presented by Chicago Review and the Program in Poetry & Poetics
Thursday, Oct 9, 4.30-6:00pm
Midway Studios 108
University of Chicago
Midway Studios is located on the corner of 60th St and Ingleside Avenue, on the south side of the Midway Plaisance.
CR 58:3/4 launch reading and concert
Chicago Review is pleased to present a release reading and concert for 58:3/4: Elliott Carter: Settings
Poetry reading by Clark Coolidge. Concert by soprano Tony Arnold, pianist Jacob Greenberg, performing Elliott Carter’s songs, Of Challenge and of Love and “Voyage”
Friday, October 10, 2014
Fulton Recital Hall, Goodspeed Hall
University of Chicago
Refreshments will be served.
Fulton Recital Hall is located on the fourth floor of Goodspeed Hall. Street parking is available along the Midway Plaisance. Directions and parking map located here.
Cosponsored by the Program in Poetry and Poetics and UChicago Arts.
Clark Coolidge is the author of more than twenty books of verse and prose, including Own Face, At Egypt, The Crystal Text, The Maintains, Solution Passage, and Mine: One That Enters the Stories. He is also the editor of Philip Guston: Collected Writings, Lectures, and Conversations (The Documents of Twentieth-Century Art), 2010. His most recent books are 88 Sonnets (2012) and A Book Beginning What and Ending Away (2013), both from Fence Books. A lifelong drummer, he is currently a member of the free improv group Ouroboros.
Soprano Tony Arnold is a member of the International Contemporary Ensemble (ICE), and performs frequently with Ensemble Modern, Chicago Symphony Orchestra’s MusicNOW, L.A. Philharmonic New Music Group, Santa Fe Chamber Music Festival, and in international festivals on four continents. She works closely with the most celebrated composers of our day, including Crumb, Furrer, Kurtág, Aperghis, Lang. To date, Arnold has premiered over 200 works written expressly for her voice. One of the most recorded singers of contemporary music, her discography includes the 2006 Grammy nominated Ancient Voices of Children on Bridge Records.
Pianist Jacob Greenberg is also a member of the International Contemporary Ensemble (ICE), for which he also serves as Director of Education. A leading pianist of modern song, he has toured extensively with soprano Tony Arnold; their 2013 recording of Olivier Messiaen’s Harawi has been singled out by critics. He has recorded for the Bridge, Naxos, Mode, Kairos, Centaur, Tzadik, and New Amsterdam labels, and live performances have been heard on WQXR New York, BBC Radio 3, WFMT Chicago and Radio Netherlands. His critically acclaimed solo disc, Solitary, was released in 2010 on New Focus Recordings.