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This week, the editors celebrate Wayne Koestenbaum’s essay on the art of the fugue, “Notes on Not Now,” which appeared in the magazine’s pages in December 1995. Koestenbaum’s conversation with countertenor Anthony Roth Costanzo will be released tomorrow as part of the online video series “Artists On Writers | Writers On Artists,” a copresentation of Artforum
and Bookforum.
“I am confused about the spirit of the age,” Wayne Koestenbaum confesses in his incandescent and hilarious he would likely prefer the word hysterical essay “Notes on Not Now.” Playing inside the form of the fugue both the musical composition and that muggy state of mind the piece muses on what, or who, signals the contemporary. In a culture that embroiders its currency with revivals and republications, comebacks and recirculations, is there no time not like the present? As ever, Koestenbaum’s measure of a moment is prompted by matters of language. Here, a scholar’s mention of “iconoph
Toronto
Ontario
Canada
Los-angeles
California
United-states
Utan-kayu
Jakarta-raya
Indonesia
New-york
Jewish-hospital
Missouri
Huma Sheikh
My mother told me to lie about my age when I became eligible to vote in Kashmir. Instead of encouraging me to exercise my freedom, she took me to the back room of my grandparents’ house. We laid there hidden, with my aunts and uncles, for the entire election day.
It was 2002, and the conflict between Kashmiri Muslims and Indians was thirteen years old. Two Indian paramilitary men in camouflage uniforms and green helmets stood by our front door with rifles, tapping the butts against the cobblestone sidewalk. The Paramilitary men were hunting for votes, looking for Muslims to support a country and election that had long treated them as second-class citizens.
New-york
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