Emmylou Harris has that catch in her voice. When she sings, the lyrics seem poised perfectly, uneasily, between her beautiful, glistening tone and a deep well of intense emotion – often, pain or longing. Her voice says: the world is broken, we are broken, but this music will keep us afloat… for now. When First Aid
When people ask me about the steps to empathize with someone who’s been incarcerated, as if – and in some ways, there is a grand liberal tradition of wanting to imagine that you can feel black pain, which is itself almost always an exercise in violence and privilege. Not just something that can’t be done.
Like his mentor Ruth Krauss’s fictive children, Maurice Sendak’s are emotionally liberated people. That’s one of the points I make in my brief (5-page!) essay “Wild Things, I Think I Love You: Maurice Sendak, Ruth Krauss, and Childhood,” which appeared in PMLA 129.1 (January 2014). In a belated recognition of the second anniversary of Maurice
My fellow Niblings (Betsy Bird, Julie Walker Danielson, Travis Jonker) and I decided a few months ago that it’d be fun to coordinate some blog posts today in conjunction with the 50th anniversary of Where the Wild Things Are. It’s 50 years old, having been originally released in Fall 1963. After some research, we figured out that its release