“In Praise of the Small,” by Natania Rosenfeld
I am going to write in praise of the small. Not the miniature, which is an inverse of the monumental and thus, in its own way, monumental.
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Essay
“D.H. Lawrence and the American Indians,” by Jeffrey Meyers
The ideas in this essay convinced the wealthy bohemian Mabel Luhan that Lawrence would respond to her invitation, come to Taos, fight the good fight and put the Pueblo Indians on the literary map.
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“Purgatory,” by Michael O’Rourke
When they arrive I’ve crawled my way to the bathroom, peeled off my underwear, and, with the strength of a 155-pound Hercules who by now has lost half the blood in his body, heaved myself into the bathtub in an attempt to clean up.
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“The Writer’s Ark,” by Nancy Willard
Any writer who takes Henry James’s advice seriously, “Try to be one of the people on whom nothing is lost,” will end up, sooner or later, looking for the hidden story—hidden because nobody was listening for it, and because the water is rising, and because there but for the grace of God go you and I.
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“Seeking Odysseus’s Sister,” by Mary Ebbott
In my memory of the moment, my reading becomes more halting, my voice trailing off a bit as the information sinks in. Antikleia had a daughter? So Odysseus has a sister? Why didn’t I know that?
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“Joining the Resistance: Psychology, Politics, Girls and Women,” by Carol Gilligan
Today, I explain, they are to be investigative reporters; their assignment is to find how girls and women appear in this museum.
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From the Editor: Introduction to MQR 56:2
Introduction by Jonathan Freedman from our Spring 2017 issue.
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“The Music in Brooklyn,” by Molly McQuade
In pursuit of that rough and ready insight, I’ve been listening to the right of wrong and to the wrong of right in Brooklyn music for a couple of years. Here follows a smidgeon of the music in Brooklyn and a little of the Brooklyn in music, overheard.
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“Extreme Painting: Eyeballing,” by Craig McDaniel and Jean Robertson
Eicher takes the microphone, and, in his lilting, wry way of talking, he gently invites us to take our places, in small groups of four people, centered on stations that have been painted (dusted would be more accurate) onto the grass.
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“Four Voyages,” by Andrea Barrett
Sometimes, not often, I’ve found the writing of a story or a novel to resemble Nansen’s smooth and well-planned voyage. Sometimes I know, roughly, where I’m going; sometimes I can also guess the routes by which I might reach that destination. Usually, though, my experience has more closely resembled that of the hapless souls aboard the Tegetthoff.
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