The Hall of Horowitz

Tim Page

Vladimir Horowitz Live at Carnegie Hall—some thirty hours of music—doesn’t include every performance the pianist played there (he made his house debut in 1928, more than a decade before the invention of magnetic tape would have permitted such sustained recording) but offers extensive documentation of performances ranging from 1943 through 1976.

Janet Malcolm’s Cut‑Up Books

Gideon Lewis-Kraus

Both Janet Malcolm’s writing and her collages are preoccupied with what happens on the margins of knowing, or in its wake. Malcolm has always had great confidence in what she’s come to know—she writes with such a sure hand—yet at the same time she is well aware of the limits of what we might ever feel assured in saying. In “A House of One’s Own,” her essay on Bloomsbury, she writes that “we have to face the problem that every biographer faces and none can solve; namely that he is standing in quicksand as he writes. There is no floor under his enterprise, no basis for moral certainty.” The abyss is there and she nods at it and goes about her business.

A Stylized Sherlock

Michael Dirda

While Sherlock continues to be exceptionally entertaining, I can’t help but wonder if it has grown a little too self-aware and too reliant on punning riffs for its titles, plots, and in-jokes. Even “The Giant Rat of Sumatra”—the most tantalizing of those untold cases for which the world is not yet prepared—is repurposed in this episode. Every element in “The Empty Hearse” feels a bit overstylized, artificial, almost going beyond the tongue-in-cheek. At regular intervals, too, the action actually pauses so that the camera can linger on the Byronically handsome Cumberbatch, brooding Batman-like over the city of London.

Eiffel Tower

Vicente Huidobro, translated by Eliot Weinberger

Guitare du ciel
Guitar of the sky

                              Attracting words
                              to your telegraphy
                              like a rosebush its bees

Brassaï’s Cloak of Night

Luc Sante

Youths of my generation learned about Brassaï from his eye-opening Secret Paris of the 30s (1976). There were pictures of thugs, bums, prostitutes, brothels, drag balls, lesbian bars, interracial dances—who knew such things even existed forty years earlier? But then our fascinated naïvety was rewarded by further contemplation of the photographs, which were humane, sympathetic, endlessly inquisitive, beautifully composed, and drew every possible bit of poetry from the enveloping cloak of night—not more than half a dozen pictures were taken in daylight. Brassaï: Paris Nocturne is the first major book on the photographer since then.