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Issue 105 Fall 2008
Influenced by fly-on-the-wall documentaries of the ‘70s, Turner Prize-winning artist Gilliam Wearing has turned the form on its ear: recording her subjects’ confessions, then re-pairing sound and image, mixing the voices of adults, children and relatives.
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Equally mysterious as it is confrontational, Mona Hatoum’s art reads far beyond the realm of identity politics. Fellow artist Janine Antoni debunks those who see only its politics and explores the complexities of both Hatoum’s work and her background.
>>>Novelists Jim Lewis (Why the Tree Loves the Ax) and Dale Peck (Now It’s Time to Say Goodbye) are good friends and great writers, who agree on next to nothing. Which is why this conversation reads like a comedy in a combat zone.
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Drawing from the bric-à-brac of history, in this case anecdotes and paradoxes from the likes of Benjamin Franklin, William James and Gertrude Stein, novelist Maureen Howard plays with, and reinvents, the novel as form.
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Shot on location in Mexico in Spanish and a variety of Indian dialects, John Sayles’ film Hombres Armados (Men with Guns) is in many ways a truly foreign film. David L. Ulin talks with Sayles about how the film reflects the cultures it portrays.
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Steve Earle’s get-down, down-home sounds cross the line from Rock to Country, and his album Washington Square Serenade, snagged a Grammy in 2008. In this 1998 interview, David Gates finds a man as complex and concise as his music.
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Who has a better sense of irony and humor, English or American actors? Victor Garber and Alfred Molina give us an inside view of Yasmina Reza’s play Art and compare notes on how two guys from either side of the Atlantic pursue art in the theater.
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Fairy tales do come true if playwright Martin McDonagh’s meteoric rise in London, with four productions staged in the same season, is any indication. His plays are Irish tales told with all the violence, humor and magic of a banshee.
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