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In 1977, through her interest in the work of the Nicaraguan-Salvadoran writer Claribel Alegría, the poet Carolyn Forché met Leonel Gómez Vides, a Salvadoran humanitarian activist, and became involved in the fight for Salvadoran freedom from repression.


Samir Toumi
Translated by Alice Kaplan

I was born in silence at the Saint-Eugène clinic, at 8 p.m. on the day of Mouloud. I didn’t cry. The midwife shook my legs vigorously until the cry came. Fireworks in honor of the Prophet’s birthday crackled in the night.


A. F. Moritz


When you last saw me I was waiting
and now that you will never see me again
for all you know I still am. The time
it turned out was the last time I was sitting


According to a statement cited by The New York Times, Donna de Salvo, chief curator of the Whitney Museum of American Art, has made explicit her aim in organizing the new retrospective of the work of the artist Andy Warhol on view until 31 March 2019: “To humanize Warhol and get people to actually look at what he made is not as easy as it might sound.”

YR Online


Harold Schechter

from Harold Schechter’s Murderabilia

The tabloid tradition of bestowing horror-movie nicknames on serial killers—“The Vampire of Sacramento,” “The Werewolf of Wisteria,” “The Plainfield Ghoul”—reflects the general perception of these psychos as creatures of almost mythic evil.


Éireann Lorsung

So here you are, and here’s the door, and the door is still open (as if your presence here, now is the reason everyone tried those months or years ago to make sure the doors didn’t jam shut).

YR Redux

Jonathan Williams, “Beauty and the Beast” (Francine du Plessix Gray and Joel Oppenheimer—detail), 1952; Black Mountain Museum and Arts Center

How captivating, in the span of two months, to study painting with Ben Shahn and Robert Motherwell, dancing with Merce Cunningham, music with John Cage, writing with Charles Olson.

From “Charles Olson and an American Place” by Francine du Plessix Gray, The Yale Review, Vol. 76, no. 3, Spring 1987



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