Every Song Ever: Twenty Ways to Listen in an Age of Musical Plenty
by Ben Ratliff
Ben Ratliff’s Every Song Ever is a music appreciation guide for our era of free or very cheap music, instantaneously available everywhere and to nearly everyone, delivered from the cloud to tiny, relatively inexpensive devices that deliver loud, clear, and accurate sound.
I Must Be Living Twice: New and Selected Poems, 1975–2014
by Eileen Myles
by Eileen Myles
Eileen Myles’s new and selected poems are titled I Must Be Living Twice, a phrase that any poet past the midpoint and looking back might utter, surprised to find a fund of work on the page as robust and spontaneous as any “real” life she lived. But Myles’s poems set a bar for openness, frankness, and variability few lives could ever match; and so in her work, the surprise second life is actually the one lived off the page, refracted through decades of Myles’s astonishingly vivid lines.
On Elizabeth Bishop is the Irish writer Colm Tóibín’s exquisite study of the American poet, a book whose modest proportions suggest the personal nature of the connection. Tóibín has written a book he could have carried along with him in the nomadic period this study recalls, when, far from home, …
Mark Strand died in November, at the age of eighty, leaving behind his newly published Collected Poems. This seems a bad deal: a man in exchange for a book. But Strand had long explored the feeling of having somehow disappeared into his art, which returned to him a version of …
at the Beacon Theatre, New York City, December 1–6, 2014
The Lyrics: Bob Dylan
edited by Christopher Ricks, Lisa Nemrow, and Julie Nemrow
There is something touching, even intimate, about reading these lyrics as poetry, a feeling of being alone with Dylan as no fan has been since his earliest concerts on MacDougal Street. His power, in his best songs and most astonishing performances, is to penetrate the layered distance implicit in his showmanship. His voice made it clear from the start that finding Dylan in the wilderness of his own self-presentation—ever changing, often defiantly strange or surprising—was the primary pleasure afforded by his art.
Tibor de Nagy, the iconic midtown gallery, has been celebrating its sixtieth anniversary with a show that doesn’t so much trace its history as distill its early essence. “Painters & Poets” includes drawings, chapbooks, letters and well-known paintings that emerged from the fantastic collaborations between Frank O’Hara and Larry Rivers, O’Hara and Joe Brainard, Brainard and John Ashbery, James Schuyler and Grace Hartigan, among many others. The energy of the poets drove those projects, yet often the painters made them sit still and keep their mouths shut, as we see in the many striking portraits in this show of poets reading, writing, sitting there, spacing out, in every phase of dress and undress. Other times, they inspired one another to produce works—like Hartigan’s series of paintings made in response to O’Hara’s poem “Oranges”—that drew from their complementary strengths. “The strangeness of the collaborative situation,” wrote Kenneth Koch, another mainstay of the group, “might lead them to the unknown, or at least to some dazzling insights at which they could never have arrived consciously or alone.”
The Magnetic Fields is the name Stephin Merritt calls the band he often plays with, when he isn’t playing alone or with several other bands he invented. The core group is Merritt and his old friend Claudia Gonson, who started as a drummer but now plays piano, “toys” (wire whisks, xylophone, sleigh bells—it’s a long list), sometimes sings, and, as her day job, manages the band; plus Sam Davol, a former lawyer who plays cello and sometimes flute and sometimes other things, too; and John Woo, a guitarist who often plays banjo. Merritt himself plays just about everything, including ukelele and a Greek instrument called a bouzouki.