Entries from Not An Exit
Berkson's Portrait and Dream: New & Selected Poems appeared from Coffee House Press.
“They’re Not Normal People”: Azazel Jacobs’s French ExitBy Madeline Whittle
FEB 2021 | Film
An exceptional ensemble castincluding Michelle Pfeiffer and Lucas Hedgesrenders the absurd with singular emotional nuance (and comic timing) in Azazel Jacobss latest, co-written by and adapted from a novel by Patrick DeWitt.
Sandcastles: Afghanistan, One Year OnBy Matthew Byrne
SEPT 2022 | Field Notes
A symbolic twenty years after 9/11, the Biden administration formally ended the United States war in Afghanistan, withdrawing the last of its troops from the south-central Asian nation. Melancholy anniversaries serve as reminders of missed opportunities, and this one is no different. Here, however, blunders appear frivolous when compared to the extraordinary corruption and pitiless violence perpetrated by US-backed forces in the region. While much has been made of the shockingly haphazard exit, the ease with which the Taliban seized Kabul, and the grim prospects for women, for girls, and for Afghans who worked with coalition forces, the cardinal sin of the war was not how it ended, but how it began.
Gaby Collins-Fernández: To A PortraitBy David Whelan
DEC 22–JAN 23 | ArtSeen
Gaby Collins-Fernándezs solo exhibition To A Portrait unraveled my defenses. Borders give me a sense of calm and control, but the six wall-height paintings on view at Anonymous escape these boundaries, giving a broader dimension to ones psychic, emotional, and bodily life. Words and images entwine and stretch past their limits, shattering into fragments of human desire. The work sneers at my guarded caution in its excess, passing up my small world for one with much more fascinating, beautiful complication.
from A Dream LifeBy Claire Messud
DEC 21-JAN 22 | Fiction
We’re excited to publish an excerpt from Claire Messud’s forthcoming novel, A Dream Life. It’s 1971, the Armstrongs have moved from New York to Australia and reluctantly inhabit the role of gentry in a grand manor on the harbor. Alice Armstrong, by turns class oblivious and class consumed, seeks help with the considerable domestic labor their new life entails. Her first housekeepers (one named Africa is briefly mentioned in this excerpt) don’t pan out. Enter Simone Funk, who both recenters the story and expands its frame.