Image: Janine Antoni, Touch, Hoyes Arte
In the November 2013 issue of the Caribbean Review of Books, Nicholas Laughlin reviews Into the Mix, an exhibit of ten artists that ran at the Kentucky Museum of Art and Craft from February to April 2012. On the artist’s—and citizen’s—search for balance, Laughlin writes:
"Art is always a high-wire act, with no safety net. The artist must find a point of equilibrium between ideas and materials, ambitions and limits, creative autonomy and the expectations of audiences, private intentions and public communication. And, as Touch makes obvious, balance is a process, not a state. It means holding steady a centre of gravity: a negotiation among mass and momentum and energy. On this depends stability and mobility. The tightrope walker keeps moving, or else she falls, and her successful journey is an ongoing compromise between her own mass, tension in the wire, and universal gravity.”
Image: Tiphanie Yanique
Happy to be reading at the Harlem Book Fair World Fiction Festival with A. Naomi Jackson and Tiphanie Yanique in a panel moderated by NGC Bocas Lit Fest organizer Nicholas Laughlin. The event will be held at Columbia University on Friday, July 11 at 1:30PM. Tiphanie is launching her novel, Land of Love and Drowning, the night before at Greenlight Books in Brooklyn. The novel is already receiving rave reviews.
Dwight Garner writes in The New York Times: ”Along the way, [Birmingham] explains not just why Joyce matters, but also why good history matters. ‘Nearly a century later, the reactions to Ulysses can feel overblown—like hype from like-minded friends and bombast from journalists trying to sell papers,’ he writes. ‘These days, Ulysses may seem more eccentric than epoch changing, and it can be difficult to see how Joyce’s novel (how any novel, perhaps) could have been revolutionary. This is because all revolutions look tame from the other side. They change our perspectives so thoroughly that their innovations become platitudes.”
A New York Times profile argues, “black literary writers with African roots (though some grew up elsewhere), mostly young cosmopolitans who write in English, are making a splash in the book world, especially in the United States. They are on best-seller lists, garner high profile reviews and win major awards, in America and in Britain. Ms. Adichie, 36, the author of Americanah, which won the National Book Critics Circle Award for fiction this year, is a prominent member of an expanding group that includes Dinaw Mengestu, Helen Oyeyemi, NoViolet Bulawayo, Teju Cole, Yvonne Adhiambo Owuor, and Taiye Selasi, amongst others.”
"She’s taught the world to see music differently, too. The 17 videos for her latest album capture the star in a head-spinning variety of attitudes and alter-egos: as a beauty pageant contestant; as a moll with a flapper haircut; as a roller-disco queen; as the leader of a militant street mob with her hair dyed green; as a Houston homegirl, vamping on a street in the city’s hardscrabble Third Ward, with a nasty-looking dog on a leash; as a stripper, an ardent lover, a wife; and, in ‘Blue,’ as an earth-mother-with-child, strolling a sun-dazzled strip of Brazilian coastline with her daughter, Blue Ivy. … If Beyoncé is the dominant figure in 21st-century music, perhaps it’s because pop has circumnavigated back to its 19th-century vaudevillian roots, to a time before disembodied voices came to us through hi-fi speakers or noise-canceling headphones, when music was, exclusively, a performing art."
—The New York Times magazine profiles ”the woman on top of the world”