Carey Wallace is the author of The Blind Contessa’s New Machine, which tells the story of the invention of the typewriter in 1808 by an Italian count for a blind woman so that she could write him letters. It’s a love story, but it’s also about the imagination and how it fails us. Patti Smith, one of Wallace’s heroes, called it “exquisitely written” and “a jewel. Now Wallace has trained her focus on artistic inspiration, both how it is historically discussed in relationship to artists, and how we as contemporary working artists might honor, cultivate, and capture it.

Lanecia Rouse Tinsley is an abstract artist based in Houston, Texas. She creates out of a desire to make the invisible landscapes within us known, using texture, form and color to speak to life in ways she feels words cannot. She says she is drawn to the “negative spaces” in life—times of ambiguity and uncertainty, silence and mystery.

Halloween kicks off the Octave of the Dead, eight days when Christians traditionally prayed for the souls of the departed. For this episode of the podcast I talked to Elizabeth Harper, whose essay, “The Cult of the Beheaded,” in Image 102, explores one culture’s particular history of praying with the remains of the dead.

I took a nap in the day and dreamed I was volunteered by someone to cook dinner for a woman with a newborn. I was to cook for her four times just after the birth of her child, and I was sort of bellyaching about it to a friend, the expense and the time. But…

I knew a woman, lovely in her bones, When small birds sighed, she would sigh back at them; Ah, when she moved, she moved more ways than one: The shapes a bright container can contain!    —Theodore Roethke, “I Knew a Woman” I know a woman who feels injustice in her lungs. A therapist, all…

Driving in the car recently, my daughter pulled down the visor in front of her and opened the mirror. Her hair was in a side ponytail draped over her right shoulder. She wore a black and white plaid beret. “I really like this hat and hair thing I have going on today.” “Yes, very cute,”…

Somewhere in the middle of Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, the eponymous Jeanne eats a sandwich in her kitchen. We have, by that point in the film, seen quite a lot of Jeanne’s kitchen. We’ve watched Ms. Dielman cook in that kitchen, peel potatoes, wash dishes (shot from behind her back so…

Continued from yesterday. In this scene from Batman’s first meeting with Wonder Woman in Trinity, you can feel the writer Matt Wagner’s personality trumping the artist; though it doesn’t really add much to the narrative, Wagner can’t help but let Bats make a crack about her costume. Superheroines’ costumes are perpetually controversial, it seems (perhaps…

It’s one of my favorite images of Diana of Themyscira, a.k.a. Wonder Woman: her proud, bold body fills the page as she soars across a pink sunset, arms spread wide like a diver, her legs not straight but slightly askew as if skipping on the air. As someone who never had much use for comics,…

I’ve just read a thirty-page article called “Whitman Music: The Problem of Adaptation.” A critical analysis of musical settings of Whitman’s poetry, the article was published in the 1965 issue of Books at Brown, a journal devoted to materials in the Special Collections of Brown University’s library. The author is Peggy Z. Rosenthal.