Natalie Bakopoulos on what makes one Greek, Harry Mark Petrakis on life in Greece today, Bob Brunk on setting a Samuel Beckett poem to music, Ilan Stavans on Andrés Serrano’s Piss Christ, Eric Torgersen on the Rilke of spiritual seekers.
Fiction by George Choundas, Amber Burke, D. Seth Horton, Jill Logan, Jennifer Moses, Tony Tulathimutte
Poetry by Anne Barngrover, Karen Kevorkian, Campbell McGrath, Rachel Richardson
Elizabeth Alexander on black experimental poetry, Marian Crotty on the borderline lover, Ilan Stavans on immigration and authenticity, James Morrison on Jonathan Strong, Laurence Goldstein on Philip Levine
Fiction by Peter Ho Davies, Massa Makan Diabaté, Janis Hubschman, Lia Silver, Jonathan Strong
Poetry by Randy Blasing, Todd Boss, Martha Collins, Rick Hilles, Patricia Hooper, Joe Wilkins
October’s the thick, sticky middle of my stuff season. I long to see the leaves flaming and falling on the Leelanau Peninsula; In the mornings I want sour cherry preserves on my toast and in the evening, after dinner and a walk in the brisk, fragrant airs, I want donuts from the Franklin Mill. Now that I don’t own a car I find myself fantasizing about a particular stretch of I-75, a corridor that begins north of Wolverine and runs 30 or so miles to the southern anchorage of the Mackinac Bridge, the largest steel suspension bridge in the Western Hemisphere, a cobalt-and-cream behemoth, every bit as lovely as the Golden Gate. Give me a Detroit-made Corvette ZR-1 and I could tear that road to shreds.
Growing up Motown—a special section on Motown explores how artists such as Stevie Wonder and Michael Jackson grew up within Motown Records, and how the company itself emerged in Detroit to become one of the most distinctive cultural industries of the twentieth century.
In the conclusion of my book Dancing in the Street: Motown and the Cultural Politics of Detroit, I described the fanfare that surrounded the fortieth anniversary of Motown Records, which included a commemorative compact disc boxed set, an ABCTV documentary miniseries, and a special Motown halftime show at the Super Bowl. The show culminated with Martha Reeves singing her signature song, “Dancing in the Street.” As I noted, “[b]y the time the song reached one of its most famous lines, ‘Can’t forget the Motor City,’ nothing seemed more forgotten than Detroit, Michigan, Motown’s birthplace.”