The proper term is “government facility,” but it feels like an old university most of the time. Asbestos in the ceilings, paint fresh from 1979. Fluorescent lighting, emergency signage, old handset telephones on the wall in every floor. My role here, in a place where the best of the best tackle noble, courageous goals—the taking of soil samples from Mars and the landing of spacecrafts on comets—is comparatively small. The comforting routine of support, set-up, clean-up; prepare, take care.
By V. HANSMANN
There were hundreds of summer camps in Maine in the ’60s. It was a seasonal gulag for middle-class white kids, ages 8–16. Being shipped off to the woods by your parents for eight whole weeks felt like a secret Get Out Of Jail Free card. Only the nametags on your clothes connected you to who you were once you had been dropped into June, and then, somewhere around August, you would brown and swell and burst into flame like a marshmallow on a stick.
Join us at the Amherst College Powerhouse for an electrifying musical performance by Layaali, a Massachusetts-based group committed to furthering the appreciation of traditional Arab music and culture.
Doors open at 7pm on Thursday, March 26. Concert begins at 7:30pm.
Free and open to the public!
Part of the Copeland Colloquium Program at Amherst College.
Photo by Layaali Facebook Page.
THIS EVENT HAS BEEN POSTPONED. Check back for rescheduling. We apologize for any inconvenience.
Hisham Bustani and Thoraya El-Rayyes will lead a translation master class. Drawing on texts in an array of source languages, the master class will focus on important literary considerations for translators, translation techniques, and the experimental and collaborative process of translation.
To register, email [email protected].
Part of the Copeland Colloquium Program at Amherst College.
By CHRIS KELSEY
Nothing could be done about the cancer in him, so we did not bring him bread. He was dying, and doing so more actively now, though still at a pace he commanded. Even Death let him call most of the shots. We brought Sol what he wanted: vodka and cigarettes.
I expect the countless eyes and cameras that have adored this place to have dulled it. But I see all colors in the desert; and they’re not tainted, as far as I can tell. I try to learn the terms and reasons for why it became the way it is. I don’t forget one name—desert varnish: the volcanic gleam over rusty red cliffs, as if spread by palette knife—and I repeat it in my head every time I pass it.
We are standing in front of Mark Rothko’s Black, Red Over Black on Red at the Centre Pompidou.
“I love Rothko,” says my companion. “I am not crazy about modern American art, but Rothko is different.” A painter himself, my companion is a talkative man behind whose frail body and white hair is an energetic, sometimes erratic mind. “Look,” he says, as he moves closer to the painting, the guard keeping a polite watch over us. “The way he has layered the painting—as if he were breathing it.”
Join internationally known writers, editors, and translators for a lively conversation.
What themes, styles, and innovative collaborations are emerging in Middle Eastern fiction? What linguistic, political, and cultural opportunities and challenges do Arabic writers and their editors face in translating and publishing new works?
Reception to follow.
In the Paris Métro last summer, heading to the Chatelet station on my way home after a wayward day, I caught the sound of a saxophone and that familiar melody from decades past, Sidney Bechet’s Petite Fleur. I could tell the music was coming from a source close by, perhaps only a few rows behind me. I froze, not knowing what to do as though I were in the grip of something large and timeless.
You are that boy. The boy I met in Switzerland while herding my siblings up the long, steep hill to the closest school cafeteria for our free lunch.
It took me exactly two hours. Two hours for most Swiss children to go home to a hot lunch and a motherly kiss. Two hours for non-Swiss me to make my way across town, pick up my brother and sisters at their school and coax them all up that hill, to get them fed, then back down to drop them off and then catch a city bus to my own school, and my breath, if I have money that day.
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