Goya: Order and Disorder an exhibition at the Museum of Fine Arts, Boston, October 12, 2014–January 19, 2015
The Infatuations by Javier Marías, translated from the Spanish by Margaret Jull Costa
In the Night of Time by Antonio Muñoz Molina, translated from the Spanish by Edith Grossman
Great Expectations: The Sons and Daughters of Charles Dickens by Robert Gottlieb
The Sense of an Ending by Julian Barnes
Jack Holmes and His Friend by Edmund White
Life Times: Stories, 1952–2007 by Nadine Gordimer
Telling Times: Writing and Living, 1954–2008 by Nadine Gordimer
The Hakawati by Rabih Alameddine
Cockroach by Rawi Hage
Selected Poems by Thom Gunn, edited by August Kleinzahler
Selected Poems of Fulke Greville edited and with an introduction by Thom Gunn, and an afterword by Bradin Cormack
At the Barriers: On the Poetry of Thom Gunn edited by Joshua Weiner
Alice in Jamesland: The Story of Alice Howe Gibbens James by Susan E. Gunter
House of Wits: An Intimate Portrait of the James Family by Paul Fisher
Hart Crane: Complete Poems and Selected Letters by Hart Crane
Notebooks by Tennessee Williams, edited by Margaret Bradham Thornton
Call Me by Your Name by André Aciman
A Thousand Years of Good Prayers by Yiyun Li
The Line of Beauty by Alan Hollinghurst
Soldiers of Salamis by Javier Cercas, translated from the Spanish by Anne McLean
Roger Casement: The Black Diaries by Jeffrey Dudgeon
Sir Roger Casement’s Heart of Darkness: The 1911 Documents by Angus Mitchell
The Eyes of Another Race: Roger Casement’s Congo Report and 1903 Diary edited by Séamus Ó Síocháin and Michael O'Sullivan
Roger Casement in Death, or Haunting the Free State by W.J. McCormack
Rory & Ita by Roddy Doyle
The Speckled People by Hugo Hamilton
Ireland’s Holy Wars: The Struggle for a Nation’s Soul, 1500–2000 by Marcus Tanner
A brilliantly coherent show at the Frick explores the French artist Charles Coypel's remarkable illustrations of Don Quixote.
A selection of prints and paintings from “Goya: Order and Disorder” at the Museum of Fine Arts, Boston, with commentary by Colm Tóibín.
A specter haunts the exhibition of Proust’s notebooks, manuscripts, and correspondence currently running at the Morgan Library. It is the specter of Proust’s mother.
At ten o’clock on a recent weekday morning, when the crowds were let in the door and up the stairs to the big hall on the second floor of MoMA, Marina Abramović was already seated in the center of a space that had been cordoned off by lines on the floor, strong lights making it seem like a movie set.
Wexford is a small town on the sea in the south-east of Ireland and an unlikely place to host an opera festival. Yet since 1951 in late October the town has organized what has become for many opera-lovers an essential date in the calendar. The reason why it has remained important is not merely the intimacy of the setting, the general air of welcome and the strange sea-washed beauty of the old town, but the policy since the early 1970s to program three operas that have fallen beneath the radar, that are seldom or never performed.
One of the strangest and most beautiful shows in the Dublin Theatre Festival, which ran during the first week of October, was entitled “No Worst There Is None” and concerned the life of the English poet and Jesuit Gerard Manley Hopkins. It was performed for an audience of twenty-five who followed the actors around the rooms of Newman House on St Stephen’s Green in Dublin. This eighteenth century building, which is owned by University College Dublin, has a plaque outside commemorating three disparate figures who spent time in its lofty halls—Cardinal Newman, the first head of the National University of Ireland; James Joyce, who was a student here; and poor, depressed Hopkins, who, sent to Dublin by his order, spent the last five years of his life in the building and wrote what are called his “terrible sonnets.”
On October 2, I joined hundreds of thousands of other Irish voters in approving the European Union’s Lisbon Treaty by a surprising majority 63 to 33 percent.