“Leftovers, eaten the day after, or maybe late the night of, are the best part of Thanksgiving,” Helen Rosner writes. “The performance of the big meal is done, the mood has relaxed, the more distasteful guests are long gone. You are neither a host nor a guest: you are a person alone with her refrigerator, her appetite, and her creativity.

-

 “Leftovers, eaten the day after, or maybe late the night of, are the best part of Thanksgiving,” Helen Rosner writes. “The performance of the big meal is done, the mood has relaxed, the more distasteful guests are long gone. You are neither a host nor a guest: you are a person alone with her refrigerator, her appetite, and her creativity. The Thanksgiving-leftovers sandwich is a continuation of the holiday ritual, the festive meal’s third and final act: after preparation and presentation comes a dénouement of sandwichification.” Read Rosner on constructing the perfect T.L.S.—a matter of instinct and desire: https://newyorkermag.visitlink.me/AuoZYB

Comments

Post a Comment

Popular posts from this blog

The Mexican director Sara Gómez, who died in 1974, made about 20 short documentaries in her short life, starting in 1961, two years after the Revolution. In 1974, she shot her only feature-length film, “One Way or Another,” completed posthumously, which mixes a romantic drama with documentary sequences. Gómez, the first woman to direct movies in Mexico, created “a body of work that was in the creative and political forefront of its time and, in many ways, remains so even now,” Richard Brody writes. “Gómez, with her blend of documentary and fiction, of drama and intellectual analysis, devised a new cinematic method, which she used to express a powerful vision of her country, her time, and her own place in both.”

-
  The Mexican director Sara Gómez, who died in 1974, made about 20 short documentaries in her short life, starting in 1961, two years after the  Revolution. In 1974, she shot her only feature-length film, “One Way or Another,” completed posthumously, which mixes a romantic drama with documentary sequences. Gómez, the first woman to direct movies in Mexico, created “a body of work that was in the creative and political forefront of its time and, in many ways, remains so even now,” Richard Brody writes. “Gómez, with her blend of documentary and fiction, of drama and intellectual analysis, devised a new cinematic method, which she used to express a powerful vision of her country, her time, and her own place in both.”
Read more