YOU, ME, AND EVERYONE WE KNOW: WHETHER Y you're aware of it or not, you're in a relationship with a monster.
There is surely some artist whose behavior, known to you or otherwise, is scurrilous, reprehensible, possibly worthy of life imprisonment-and yet you continue to love the work of that artist, defiantly, secretly, or in ignorant bliss. More often than not, this person-it could be a filmmaker, a writer, a painter, a musician-is a man, because more often than not, it's brilliant men who get a pass when it comes to how they behave in everyday life. And so, when it comes to laying blame for these conflicts that roil inside us-can I still watch Woody Allen's Annie Hall and not feel dirty? Is it wrong to feel a frisson of joy as I gaze at the aggressive angles of Pablo Picasso's Les Demoiselles D'Avignon?-the bottom line is that it's men's fault. Why do they have to spoil everything?
And yet with her exhilarating book Monsters: A Fan's Dilemma, essayist and critic Claire Dederer holds a small lantern aloft in the darkness. it possible to ever separate the art from the artist? And if not, is it possible to find the sweet spot between our rage and our rapture? Those are just some of the questions Dederer both raises and responds to in Monsters, though this isn't so much a book of solutions as it is an examination of how we approach the art we love. Because the more deeply we engage with art, the more troubled we're likely to be over the sins of the people who made it.
Denne historien er fra May 08 - 15, 2023 (Double Issue)-utgaven av Time.
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Denne historien er fra May 08 - 15, 2023 (Double Issue)-utgaven av Time.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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THE NEW APPRENTICE
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The hunt for life on a moon of Jupiter begins
NEARLY HALF A BILLION MILES FROM EARTH, A WORLD may be stirring.
