The sequence, like others I’ve pointed to in Numero Cinq at the Movies, could be a standalone short film: everything we need is held in this discrete scene. Green’s careful crafting of shots brings us face to face with a heart-breaking beauty.
- Numéro Cinq at the Movies: Eugene Green’s Le Pont des Arts Introduced by R. W. Gray
- A Good Time Was Had by Some: On Assigning & Relishing the Eternal Punishment of Others — Patrick J. Keane
- Alive, Ineffably Alive: A Review of Max Blecher’s Adventures in Immediate Irreality — Eric Foley
- How do you say…in Slovak? | David Zieroth Poems & Interview — Kathryn Para
- A Way Home: Review of Mai Al-Nakib’s The Hidden Light of Objects — Natalia Sarkissian
- Fingers Around My Neck: Fiction — Jason DeYoung
- A Twisty, Haunted Masterpiece: A Review of Kelly Link’s Get in Trouble — Benjamin Woodard
- تالان (A Looting): Essay — Agri Ismaïl
- The night I spent my last nickel to call Steve: Poems — George Szirtes
- Beautifully, Wantonly: Review of Here Comes Kitty by Richard Kraft and Danielle Dutton — Natalie Helberg
- Dirty Thirties & Rugby: Short Stories — Terese Svoboda
- On Translation | Quiet Accomplishment: Remembering Cid Corman — Gregory Dunne
- I Cried to Dream Again: Song — Maura Kennedy | Introduced by Patrick J. Keane
- Reality Tour: Short Story — Toni Marques
- Uimhir a Cúig | The Ghost Estate: Novel Excerpt & Interview — John Connell
- I’m a Big Fan of the Joyful Solution: Interview with Jen Bervin — Darren Higgins
- Top of the Page | Best of the Numéro Cinq Writer Interviews
A Good Time Was Had by Some: On Assigning & Relishing the Eternal Punishment of Others — Patrick J. Keane
To encounter this passage about the bliss of the blessed being enhanced by delighting in the torments of the damned, coming from, of all people, Catholicism’s central philosopher-theologian, stunned me…
Adventures in Immediate Irreality is a short, powerful dispatch from the heart of European literary modernism—part idiosyncratic coming-of-age novel, part prose poem to the terrifying intensity of the everyday.
We went to the Vienna woods one day, borrowed a car, and Auden’s grave is in the Vienna woods. There it was, and something about it spoke to me, and I asked myself, am I really going to write this poem?
Perhaps the strongest element the author shares with her characters is the desire to recreate and re-imagine the place where she grew up: a brave, cosmopolitan, outward-looking land that existed not so long ago.
This morning I woke up thinking about the future. Ol’ Tongueless was scrambling eggs. He had written me a note: ‘Not killing you. Leaving today. Please don’t be afraid to speak to me. Invited Pauline over for breakfast.’ He had beautiful, jaunty handwriting. Maybe I’d ask Tongueless to stay.
Fans of her earlier work are well aware of Kelly Link’s ability to transform seemingly straightforward narratives into twisty, haunted masterpieces…
Most novels that you read today seem like relics, as though modernism never happened at all, Flaubertian narratives in which characters hold the latest consumer technology to make you, the reader, realise that it is meant to take place in the now. But it does not feel like any reality you experience on a daily basis…
It was the same then as it ever was. / It’s what we were before. It’s what we are. // Let’s talk then, you and I, as if by rote. / Let us repeat the words and walk past doors / as if they weren’t there and neither was the rain. / These streets and bars are our familiar shores.
Beautifully, Wantonly: Review of Here Comes Kitty by Richard Kraft and Danielle Dutton — Natalie Helberg
Here Comes Kitty, a collage project with written interludes, beautifully, wantonly, defies review. Like a dream, it slips off the binds of the mind, building up structures which differ from rational waking.
I’m here now to show them I’m the same from my place not so convenient, but what game am I playing? You have only one life, my lover says, as if that’s why I should risk it, kissing me so hard in the back seat that I have to close my eyes, that I should.
The origin of any poem, of all poems, is the same at its source – it is the impulse to speak, it is the “O” of breath and being – the reaching out of one to another through language – the poet and reader together…
The music Maura wrote for it verges on the magical, and the poignant word “bittersweet,” crucially placed and held beautifully by Maura in a long and rising note, evoked for me the love poems written by W. B. Yeats…
But, hey, you’re in Rio’s oldest favela watching a typical day of a crack-cocaine torn family. It’s a crack-o-rama if you will. Anything can happen to a crack-cocaine favela family, what else can I say? You see the girl running around like crazy? Perhaps right now she’s high, you know.
The book was wrote in Ireland in a portacabin in a field in Longford. It was necessary to write the book in Ireland. I needed to be in the atmosphere of the place and listening to the local people talk. Ireland was the canvas and the book was the paint if you’ll pardon that analogy.
Like with any big, delicious problem I started to think about what could be done. And like with any big, delicious problem in art I took a lot of wrong tacks looking for something that works, but what it has come down to now is really beyond thrilling—
At the Top of the Page this month, we feature a selection of the best of Numéro Cinq’s fast-growing archive of stellar author interviews. There is only room for a few. Some great conversations got didn’t make the cut. So go to the NC Interview page and check them out.
Vol. VI, No. 2, February 2015
- Numéro Cinq at the Movies: Beauty, Travel, and Death in Paolo Sorrentino’s “The Great Beauty”
- In the Orbit of Venus: A Review of Jay Rogoff’s Venera — Mary Kathryn Jablonski
- Her Mother’s Keeper: A Review of Susan Paddon’s Two Tragedies in 429 Breaths — Patrick O’Reilly
- Uimhir a Cúig | Winter With Catherine: Poems — Thomas McCarthy
- River, Stars, and Blessed Failure: Brief Essays — Sydney Lea
- Triangulations from the Diaspora: Childhood — Dao Strom
- When Is A Good Time to Think About Death? | Essay — Lawrence Sutin
- The Pope, Charlie Hebdo, and Islamist Terrorism — Patrick J. Keane
- Detective Nicky Carruthers is Dead: Play — Bradd Allen Saunders
- How the Laughter of the Nation Led to the Pitiable Deaths of Claudia and Francisco Cordoba’s Ten Children: Fiction — Ian Colford
- Essay as Not Knowing: A Review of Loitering by Charles D’Ambrosio — Melissa Matthewson
- How The Blind Dog Perceived Human Sadness: Poems — Robert Wrigley
- Ethics and Aesthetics are One: The Earnestness of High Modernism in Wittgenstein and Musil — Genese Grill
- A Lost Bridge Between Now and the Past: An Interview with Ondjaki — Benjamin Woodard
- On My Death Bed With My Spam Filter: Music & Words — Tom Faure
Vol. VI, No. 3, March 2015
- Numéro Cinq at the Movies: Awe, Wonder & the Sublime in Filippo Baraccani’s “The Approximate Present” — R. W. Gray
- On the Shores of Darkness, There is Light | Cordelia Strube: Fiction & Interview — Ann Ireland
- Atrocities Proliferate: Review of Newspaper by Edouard Levé — Jason DeYoung
- Undersung | R. F. Langley: Between Two Worlds — Julie Larios
- In the Garden: Fiction — Gary Garvin
- Yearning for the Irretrievable | Pamela Petro: Art & Interview – JC Olsthoorn
- Uimhir a Cúig |A Callows Childhood: Memoir — Patrick Deeley
- Ralph Maud’s Prayer: Distilled | Poem — Mary Maillard
- How to Sightsee in France with your Teenage Son: Text & Photographs — Natalia Sarkissian
- Chance Encounters of a Literary Kind | Talk to Strangers and Stop on By: William Stafford — Robert Day
- Masterpieces Can’t Be Willed Into Existence: Review Portrait of a Man Known as Il Condottiere by Georges Perec — Jeff Bursey
- Bad News Waitress: Fiction — Julie Reverb
- A Choir of Pages: Review of Tom McCarthy’s Satin Island — Frank Richardson
- These are the Ferocious Challenges: An Interview With Diane Williams — Jason Lucarelli