December 1, 1999: WTO + SPD = WTF
Do you feel lucky, leftist?
Back Again…Again: An Interview with The Habit
The Star’s Kelly Dermody recently interviewed The Habit’s Luke Thayer, Jeff Schell and Mark Siano and talked about their creation process, the group’s temporary sojourn to Los Angeles, and what their future is going to look like.
Natalie Diaz: Meth, Mistakes & Mischievous Barbies
Diaz’s well-crafted verse and rich language evoke the familiar themes of death, deception, festivity and family. Her meth-head brother is brought up often in her poetry—especially in regards to how his addiction breaks down their parents. Both bit by bit and in giant, violent pieces.
The Dance Lesson
Maria sat cross-legged on the living room floor surrounded by piles of little white receipts. There was a giant mound for groceries, a large pile for credit card payments, a small one for fun, home repairs, schooling… It was like looking back through a diary. She picked up a receipt that was for one marriage counseling session and wondered which pile to put it in.
Outside Seven-Eleven, Next Week
Pam Carter puts on a tinfoil hat and channels Leilani Mae Jesperson in her latest poem.
In Memoriam: Tristan Devin
Kelly Dermody mourns the loss of local comedian and entrepreneur, Tristan Devin.
Ellen Forney, Marbles & Me
By now you’ve most certainly heard about Ellen Forney’s immense talent and infinite heart illustrated in her graphic memoir Marbles: Mania, Depression, Michelangelo, & Me, an artwork documenting her struggle with mental illness. The publication offers beautiful illustrations of the author’s endless quest to become the best writer, artist and human that she can be.
November 24, 1885: Anna Louise Strong
An undeniable icon in Seattle’s radical history, as well as that of the nation, Anna Louise Strong was born on the date in focus here in the uncannily-named Friend, Nebraska. Jeff Stevens histories you strikingly.
The Ghastly Impermanence: Sight Unseen
Giving Prof. Guralnick the benefit of fair doubt, I believe her goal in writing the book is to expand the audience for radio drama by proving its link to stage drama, to discuss playwrights who are best known for their stage work, rather than playwrights who write specifically for radio. I cannot argue against her choice of material. What I will argue is that the approach probably confirms more biases than it dispels.
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