by Rafaël Newman
You’ve heard the story before. The poet Orpheus, celebrated for the enchanting quality of his voice, is grieving the sudden death of his young wife Eurydice. In his despair he resolves to harrow the Underworld, where he so impresses the god Hades with his singing that he is permitted to retrieve the shade of his bride and return with her, newly embodied, into the light—on one condition: that he not look back at Eurydice until they have attained the realm of the living. All is proceeding according to plan, and the pair have nearly made it to the world above, when Orpheus, overcome by the suspicion that he has been swindled, turns to assure himself that his silent wife is still following him—only to see her flee away, this time forever, back into the shadows.
Boy meets girl.
Boy loses girl.
Boy finds girl.
Boy loses girl again.
Boy founds enduring aesthetic tradition.
For the theme of the beautiful, irretrievable, now permanently dead woman and her endlessly grieving, magically gifted male lover, who nobly commemorates her in works of art, has been recycled time and again in the millennia since its mythical origins, in story, song, and the visual media, from the Roman elegists through the earliest Venetian opera pioneers to the Romantic poets, from the painters of the Renaissance through the Pre-Raphaelites to the Surrealists. Read more »

Małgorzata Mirga-Tas. Out of Egypt. 2021
Death was already about me. I’d recently written two death songs. Not mournful, but peaceful and welcoming. No reason. They just seeped out of me. Then came the Covid infection. It must’ve found me in upstate New York while vacationing with friends.





Gérard Roland came to Berkeley only around the turn of this century. He grew up in Belgium, was a radical student, and after the student movements of Europe subsided, he supported himself for a time by operating trams in the city. When he was wooing his girlfriend (later wife), Heddy, she used to get a free ride in his trams. (A few years back when I visited them one summer in their villa in the Italian countryside near Lucca, Heddy told me in jest that those days she was content with a free tram ride, but now she needed a house in Tuscany to be placated). Gérard is also a good cook.

Every hour of every day I hear the pulsating rush of le Periph and I am reminded that Paris is dead. My dorm is at the very bottom of Paris such that if the city were a ball I’d be the spot that hits the ground. I sit in my windowsill. I watch cars drive on the highway in an unending flow, like blood in veins, fish in streams, but they’re all metal idols of life. Life does not go this fast. Life stops to take a rest.
Sughra Raza. Color Burst, Costa Rica 2003.
For many of the ancient philosophers that we still read today, philosophy was not only an intellectual pursuit but a way of life, a rigorous pursuit of wisdom that can guide us through the difficult decisions and battle for self-control that characterize a human life. That view of philosophy as a practical guide faded throughout much of modern history as the idea of a “way of life” was deemed a matter of personal preference and philosophical ethics became a study of how we justify right action. But with the recognition that philosophy might speak to broader concerns than those that get a hearing in academia, this idea of philosophy as a way of life 


