by Robert Fay

In 1899 at the age of 59 Henry James began work on The Ambassadors, the first of his brilliant, ground-breaking final three novels that included The Wings of the Dove and finally The Golden Bowl. James’ biographer Leon Edel writes, “The Ambassadors was told by James in a complex, indirect style he had never attempted before…rather than accept the old tradition of the novel which told everything, James allowed his readers to know only as much as one learns in life.” And R.P. Blackmur wrote of these final novels, “James made a spiritual trilogy which, with each succeeding volume, approaches nearer and nearer the condition of poetry.”
James is the exemplar of producing unparalleled, distinctive work late in life when the artist must confront, not only the specter of death, but the more intimidating nemesis of one’s previous output, duel foes which can freeze one into a morbid nostalgia. I’m reminded of the Reverend Gail Hightower in William Faulkner’s Light in August, who cannot escape the chimera of his grandfather’s battles in the Civil War, and how this fixation destroys his marriage and his ministry. The past can strangle us indeed.
The challenge of doing true important “late work,” or “late style” as Edward Said called it, should stoke the ambitions (and anxieties) of all serious artists. And while it’s not an impossible mountain to summit, the list of accomplished mountaineers and their treks is intimidating, for it includes: Beethoven’s Late String Quartets; Philip Roth’s great late novels, American Pastoral (published when Roth was 64), I Married a Communist and The Plot Against America; as well as works from Picasso’s Late Period (though there are still critics who disparage these pieces), to name a few. But there is more here than the individual artist bravely exploring his own dimensions, there is the effect on the surrounding culture which (in our present age) is deprived of mature thought, being seduced by the lazy discourse of the adolescent and the crudely juvenile (I’m not speaking of chronological age here). And if you think I’m overstating it, go see what’s trending right now on your favorite social media platform. Read more »



It doesn’t take much. A small piece of gravel, spit out by a truck’s wheel, ricochets off the windshield, taking a tiny chip of glass with it. A microscopic divot and discreet little lines, like crow’s feet at the corner of an eye. Barely noticed for months, the accordion of heat and cold compress and expand, adding and relieving pressure. Then finally, the scratches spread out across the glass like an avant garde spider web.
by Leanne Ogasawara
employees, a move that could increase wages and benefits for hundreds of thousands of struggling workers. […]
We’ve seen a couple of these artists before. FernLodge is this guy Joe from Canada, whose music is (as is all of this music actually; follow the links) available on Bandcamp. However, while most artists, even when giving their music away for free, allow you to “name your price” (which in turn allows you, if your price isn’t zero, to put that music into your Bandcamp “collection,” available to download whenever you want), Joe simply sets the price at “free” (which means you can’t put it into your online collection even if you want to). As you can tell by listening, Joe is being way too modest, as
Someone else gets more quality time with your spouse, your kids, and your friends than you do. Like most people, you probably enjoy just about an hour, while your new rivals are taking a whopping 2 hours and 15 minutes each day. But save your jealousy. Your rivals are tremendously charming, and you have probably fallen for them as well.






