April 15th, 2013 | 10:11am

The dog is 13 this year; that’s 91 in human years.  He’s pretty spry, all things considered, but the changes are noticeable and frequent as of late: he is slower on our walks, resists the longer distances, has trouble with stairs and with standing up or lying down. We’ve just invested in a ramp for the car. I’m reluctant to subject him to long car rides anymore, given how stiff he is afterwards from limited space and dehydration. This is the dog who’s traveled cross country twice, and up and down both coasts several times.

But I project.

April 12th, 2013 | 12:20pm

To reach Kumbhalgarh, one drives two hours north from the charming lake city of Udaipur through the Aravalli Mountains. Until the end, the climb is gradual, and the countryside is rock-strewn and brown, save for the flames of the forest, the shocking orange flowers blooming from dead-looking branches. (When the rains come, the flowers will fall, and the trees’ wide green leaves will be used for plates.) But just when the roadside rhythms have slowed to match the bullock-pulled wheels drawing water from the wells, a throng of pink and orange and yellow saris jump into the road and halt the car. It’s the week of Holi, the Hindu festival of colors, and these women extract a few rupees in exchange for a fierce bit of dancing.

Photo by Rich Anderson
April 10th, 2013 | 11:10am

Photo by Rich Anderson

Soon enough the grackles will truth 

the yard out back beneath the wires, 

 

the sidewalk cracks, the live oak roots. 

They will lose their dying feathers, now glossed 

April 9th, 2013 | 8:00am

When I was four years old, my father decided it was time for me to learn my address and phone number, so I’d be able to identify myself and find my way back if I ever got lost. He taught me the following ditty:

reviewed by Sarah Malone
April 8th, 2013 | 8:00am

Renata Adler dedicated Speedboat (1976) and Pitch Dark (1981) for “A.” and “B.,” and like two LP sides, the novels, newly reissued by New York Review Books, are variations in a radical approach to fiction. They diametrically oppose E.M. Forster’s formulation that narrative is causation—not “merely” A happened, then B happened, but A caused B. Adler puts A next to X, with no apparent causal connection or temporal sequence. Many characters appear only once. But episodes' consistent sentence structure and types of characters create a coherent tone. Its effect is hypnotic.