“When we got up the nerve to crack the door open, we were immediately met with the smell of air that hadn’t been smelled in a long time: a mix of dust, musk, and cedar — a whiff that gave a sense, even to a kid, of past lives and an odor that we didn’t experience in the city, where every space seemed to be in constant use and never remained closed off for long.”
This kind of hunger for hate and this desperate thirst for indignation leaves people vulnerable, and they’ll devour whatever they are sold, they’ll order everything on the menu.
The film is like a poem of a dream, composed in movements, and alternating between scenes of blissful young lovers naked in bed, surreal and frightening images that serve as worrying metaphors for pregnancy, and documentary footage of people on the Rue Mouffetard. In 17 minutes the film covers the cycle of life — childhood, youth, old age, infirmity, death — but in not in any logical order, rather in the bewildering way that life moves or that we move through life.
Some thoughts on Basho’s spring poems, writings, and journeys, from Arthur Davis.
Edna Lewis’ incredible book The Taste of Country Cooking is not just a cookbook, this work functions both as instructional material and memoir, using recipes to tell the story of a year in the lives of people living in Freetown, the self-sustaining agricultural community in rural Virginia where Lewis grew up.
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
Some thoughts on a strange and beautiful word.
Recent work from photographer Patrick Joust.
Penny Folger examines Barbara Loden’s sad and beautiful film Wanda, an often-overlooked landmark in American cinema.
Very grateful to share this wonderful interview with the remarkable Michael Ward.
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