An Interview With John Rosenthal
It’s hard not to see that a photograph is an act of aggression, no matter who is taking it. You’re stopping people from the flow of their lives, you’re cropping them from the space in which they live and have their being, you’re juxtaposing them with something that they didn’t know they were next to.
I was slowly beginning to question the whole purpose of identifying and eliminating “bad guys” from positions of power or influence, a purpose which seemed to be the end-all of investigative journalism. I wanted to know what made guys bad, and journalism seemed to have no means for investigating that.
“This must be the utmost high point in the history of Tompkins Square Park,” I told Jim Brodie, coming back from a poetry reading three weeks ago.
Rose wore a hat with a feather, and gloves. Oh, she looked smart. Esther was proud to be with her. Rose said she’d called for a taxi, and they were to go downstairs to wait. Out they marched.
“I’m going to do you to death,” he said. “How about that. Not because you’re pretty, either, because you’re not, but because you can’t stop me. How about that.”
What magnificent creatures they are, these friends who populate the complex ecology of the life I share with Julia. Refreshed by their presence, confirmed by their affection, we rejoice in the sight and the sound of them.
*NOTE: Original copies of this issue are no longer available. Unbound, laser-printed copies will be provided for print orders.
Anna Karenina, the Peace Corps, long-distance rates
Letter By Letter
Words become sentences in spite of themselves, as moments become a life.
A child’s trust has the stubbornest roots: it takes far more digging than you would expect to pull out every little piece.
We've lifted our paywall. In this time of isolation, we want to share stories about what connects us, the challenges we face, and the moments when we rise to meet them.
