Tope Folarin (’15) Robert Irwin and African Fiction

Tope Folarin (’15) Robert Irwin and African Fiction

I DIDN’T KNOW MUCH about Robert Irwin’s work when I wandered into the Hirshhorn Museum and Sculpture Garden a few weeks ago. I knew that he was a contemporary of a few other artists I admire, James Turrell among them, and that he was the first artist to win a MacArthur Genius Grant in 1984, but I could not recall seeing his work at the Hirshhorn, the National Gallery of Art, the Museum of Modern Art, the Whitney, or any of the other museums I visit on a frequent basis.

The exhibition is called Robert Irwin: All the Rules Will Change. Step off the escalator, walk a few feet, and before you, floating at about eye level, is a white sphere. It is split in half horizontally; a thin band of black pulses at the center. Instead of appreciation, comprehension, even confusion, your mind generates a series of questions. How can it be that this sphere is floating? And what exactly is in the middle of that … that thing? Is it some kind of light? Can light be black? Can black light pulse? Step closer to the sphere, look behind it. Ah. A clear plastic tube connects the sphere to the wall. Indeed, from this vantage point the sphere no longer resembles a sphere; it is actually a wedge of curved plastic. Or metal. Or something. You still cannot tell what is happening in the middle.

 

Read the rest of the article here: Tope Folarin in the LA Review of Books

Jamie Moore (’14) is Writer of the Month at DRUNK MONKEYS

Jamie Moore (’14) is Writer of the Month at DRUNK MONKEYS

A Beating, A Prayer

After they took the body of my friend away, I lost my ability to move. They’d left the twisted sheet he hung himself with, still tied to the curtain rod. The noose taunted me, its wide mouth ready to claim another black body.

My father thought the Word would save us. It would save me from the uncertainty and panic that kept my knees buckled. “Real men stand up straight, son. Real men hold themselves with the confidence of the Lord.” It would save Satchel, my best friend, from his sweetness, his lilting voice, his soft, piano-player fingers that reached for your arm when he spoke. He believed if we left what we knew and traveled, if we focused on memorizing the Word, repeating it over and over to those sinner-bent strangers with outstretched hands, we would find salvation. We would find our manhood.

Satchel’s reclamation of his body weighed the air in the already stuffy room. I knew that what he did was supposed to be a sin, but in a way it was also an assertion. Even though I wasn’t all the way grown yet, I knew that Satchel had given in to his heart and couldn’t bear a world filled with men like my father: brutal, unwilling to change.

Read the rest of the excerpt from WALK WITH ME here.

Also read HAVE MERCY, HOLD ON

Rion Amilcar Scott (’13) on the Recurring Characters of Edward P. Jones

Rion Amilcar Scott (’13) on the Recurring Characters of Edward P. Jones

When a Character Returns

Edward P. Jones connected recurring characters through his short stories, providing a blueprint for one writer.
From Catapult

Lost in the City,

All Aunt Hagar’s Children

 

Read the rest of the post here: Rion on Edward P. Jones