by Chris Horner
Less disappointing than life, great works of art do not begin by giving us all their best. —Proust
…for here there is no place
that does not see you. You must change your life. —Rilke

Everything demands our attention. A ceaseless stream of electronic information and entertainment flows through and around us. Attention spans shrink, and we struggle to focus on anything for more than a few minutes. Entertainment waits on every click, as does ennui. Paradoxically, we may come to want the things that we cannot have in an instant, that demand our time and patience before they will reveal all they have to offer: the art that demands that we slow down. To really appreciate those productions of culture that can refresh us, make us think, immerse us in beauty, even strike us with terror, takes time. Art that is challenging often requires this of us. This can be true of more ‘popular’ art forms too, if they have the kinds of layers that take time to be appreciated. Their advantage over what I’m calling ‘slow art’ is they give us an immediate sugar rush that keeps our attention on them (exciting narrative, easy to recall musical ‘hook’ etc) and which encourage us to return to them again and again. There’s nothing wrong with that. But not all art will do that, or not as often and as easily. Slow art, if it is great art, demands our time and patience before it will reveal all it has and can be to us. We should welcome this, for not only does this art often reward us most for our patience, but the practice of paying attention is itself, understood rightly, a kind of joy. There is an art that can offer us a world if we will but attend. Read more »

Sughra Raza. Untitled. Cambridge, 1999-2000.
Having 
On the night of July 13, 1977, the old god Zeus roused from his slumber with a scratchy throat. Reaching drowsily for the glass by his bedside, his arm knocked a handful of thunderbolts from the nightstand. Swift and white, they rattled across the floor to the mountain’s, his home’s, precipitous edge: off they rolled and dropped to plummet through the dark. That night, great projectiles of angular light splashed against and extinguished New York City’s billion fluorescent eyes.

When we speak about identity, we usually have in mind the various social categories we occupy—gender categories, nationality, or racial categories being the most prominent. But none of these general characteristics really define us as individuals. Each of us falls into various categories but so does everyone else. To say I’m a straight white male puts me in a bucket with millions of others. To add my nationality and profession only narrows it down a bit.
There are two possible attitudes towards Scripture. One is to regard it as the direct and infallible word of God. This leads to certain problems. The other one, equally compatible with devotion, is to regard it as the recorded writings of men (it almost always is men), however inspired, writing at a specific time and place and constrained by the knowledge and concerns of that time. This invites deeper study of what was at stake for the writers, the unravelling of different narrative strands and voices, and discussion of whatever message the Scriptures may have for our own times. I expect that most readers here will adopt the second approach, while those who adopt the first are not to be dissuaded by mere rational argument, so why am I even discussing it?

About a third of the way through a first-year humanities honors course, one of my more engaged and talkative students pulled me aside after class for a private chat. She waited, clearly anxious, while the rest of her classmates filed out and then turned to me with her eyes already filling up with tears.
My father, the son of Italian immigrants, was a member of the working class. There were things within reach, and things that were not in reach, and he accepted this. He never pushed his children to broaden their horizons, and would have been satisfied to see them in traditional working-class vocations. When I came home from school eager to show off my grades, he poked fun at me. The prospect of pursuing an intellectual career was alien to him; in his view, taking out student loans to go to college or university was a way for banks to trap the “little guy.” When I presented him with the papers, he refused to sign. There was no discussion. I eventually moved out and managed to get my BFA anyway, and when I wound up as a finalist for a Fulbright, the doctor who performed the general checkup required by the awarding commission—I was still covered by my father’s Blue Cross plan, but only because I was still technically a dependent and it didn’t cost him anything—took him aside and told him that a Fulbright would be “quite a feather in your daughter’s cap.”
Sughra Raza. Just a Street Corner. Boston, 2022.



