In the 17th century, Peter Paul Rubens was the most coveted portraitist in northern Europe; he painted the elite members of noble society, scholars, and nights. King Philip IV of Spain sat for his canvas, as did Marchesa Brigida Spinola-Doria of Genoa, an aristocrat rendered in glittering satin and intended to be viewed from a height, glancing downwards at an audience that was doubtlessly beneath her high-ranking status.
Design By Morgan McMullen
If you have any doubts about picking up a short story collection, allow Danielle Evans s
The Office of Historical Corrections to convince you otherwise. Readers devoured Evans s latest book, which is composed of six mesmerizing short stories and a novella of the same title, focused on themes of race, grief, identity, and family. $24.84
As one #ReadWithMC reviewer put it, I never thought to compare books to eating, but reading this collection of short stories with a novella to end [with] felt like that one time I experienced what it was like to dine at a Michelin restaurant. Each story progressively tantalizing the tastebuds. Overall, the novella was a favorite amongst readers, and reviewers praised Evans s sharp, clean writing throughout the book, calling her a master of her craft.
anthony: we re dining at palazzo margherita not the ancestral home of generations of coppolas but might well have been the one time manor house of those who lorded over them while they worked in the fields. mr. coppola: during the mussolini time, every town had a podestà, the official of the fascist party. and this family was the podestà. the ladies here were so, you know, snobby we are low-class italians. they were more high-class italians. anthony: it took years, and a lot of money, converting the once grand, but decaying mansion into a boutique hotel. anthony: you know, when you bought this place, was there a sense of vengeance? mr. coppola: i, you know, by then, the godfather had come out 40 years ago. anthony: no, no. i mean, look, it s not about the film. historical correction. mr. coppola: there s a
palazzo margherita not the ancestral home of generations of coppolas but might well have been the one time manor house of those who lorded over them while they worked in the fields. mr. coppola: during the mussolini time, every town had a podestà, the official of the fascist party. and this family was the podestà. the ladies here were so, you know, snobby we are low-class italians. they were more high-class italians. anthony: it took years, and a lot of money, converting the once grand, but decaying mansion into a boutique hotel. anthony: you know, when you bought this place, was there a sense of vengeance? mr. coppola: i, you know, by then, the godfather had come out 40 years ago. anthony: no, no. i mean, look, it s not about the film. historical correction. mr. coppola: there s a saying, do you know what italian alzheimer s is? do you know what it is? you forget everything but the
kid. mr. coppola: i hated it. anthony: of course. mr. coppola: but now i don t. anthony: so good. anthony: we re dining at palazzo margherita not the ancestral home of generations of coppola s but might well have been the one time manor house of those who lorded over them while they worked in the fields. mr. coppola: during the mussolini time, every town had a podestà, the official of the fascist party. and this family was the podestà. the ladies here were so, you know, snobby we are low-class italians. they were more high-class italians. anthony: it took years, and a lot of money, converting the once grand, but decaying mansion into a boutique hotel. anthony: you know, when you bought this place, was there a sense of vengeance? mr. coppola: i, you know, by then, the godfather had come out 40 years ago. anthony: no, no. i mean, look, it s not about the film. historical correction. mr. coppola: there s a saying, do you know what italian alzheimer s is? do