About six months after my mother died, my father figured it was time that he reengaged with society and start attending the various social functions that he had once pleasured.
During a slow weekend this past July in St. Petersburg, Russia, Rob Madole, Tim Nunan, and John Nelson started scheming, started to talk of raising hell.
I would like to sincerely thank you for coming to campus on Thursday, April 18, 2013 to give a lecture titled, “Advice from a Princeton Mother.” Your lecture helped me a great deal. It helped me to understand exactly what is so dangerous about anti-feminist, slut-shaming women like you, and why the backlash you received after your now infamous letter to the editor in the Daily Princetonian was not only deserved, but important to the future of American women.
There’s a particular brand of shame that comes with being a tourist, particularly as an American. Especially in Europe, American tourists are almost universally received with a mixture of annoyance and exasperation, the kind usually reserved for flies buzzing around the ear or children crying on airplanes.
Installation art evokes a cyclical arc of feelings: first, walking into a room of junk or seeing a bizarre box with a peephole: “This is retarded.” Then, once the initial assault wears off comes the feeling that maybe something complicated just happened. Depending on the particular piece, the final stage involves either the sense of satisfying complexity or the feeling that you have probably just seen another overly pretentious piece of modern art.
Some years back, while browsing The Adventures of Pete and Pete fan sites (I obviously had lots of friends in high school), I happened upon one that listed the AIM screennames of several actors who played big roles on the … Read More
“The horizontal, chosen family works outside of the law — in The Gilda Stories, love is never codified by a wedding, same sex and interracial relationships play out beyond the reach of history, and one can have limitless mothers.”
Although the films display a wide range of subject matter, they share a common purpose: to make the spectators’ experience part of the movie itself, “like ruins or outlines where the viewers have to fill in the gap,” as featured Spanish director José Luis Guerín put it.
In Rich Homie Quan’s 2013 classic, “Type of Way,” he joins a three thousand-year tradition of literary recluses in a single rhyming couplet: “I got a hide away, and I go there sometimes, to give my mind a break/ I find a way, to still get through the struggle, what I’m tryna say.”
