CONEY ISLAND BOOK FAIR
Coney Island USA
1208 Surf Ave.
Saturday, May 10, fair free, panels $20, variety show $25, $40 for both www.coneyislandbookfair.org
Coney Island has been a poignant location in such books as Lawrence Ferlinghetti’s A Coney Island of the Mind, Sol Yurick’s The Warriors, Joseph Heller’s Now and Then: From Coney Island to Here: A Memoir, Billy O’Callaghan’s My Coney Island Baby, and Alice Hoffman’s The Museum of Extraordinary Things.
The Brooklyn home of the Cyclone, the Wonder Wheel, Luna Park, and the New York Aquarium is now taking the next step in its literary history with the inaugural Coney Island Book Fair, done in its usual style, with more than a touch of freaky entertainment. On May 10, there will be four panel discussions, books for sale, art vendors, jewelry, food and drink, and a concluding variety show with special guests. Below is the full schedule.
Sip, Search, and Swap Stories!, Freak Bar, noon – last call
Writing the City: New York as Muse, with Eddie McNamara, John Strausbaugh, and Laurie Gwen Shapiro, moderated by Heather Buckley, 1:00
Writing the Creepy: Books That Go Bump in the Night, with Leila Taylor, S. E. Porter, Colin Dickey, Alix Strauss, and Sadie Dingfelder, moderated by Laetitia Barbieri, 2:00
Writing the Shimmy: The Politics of Pasties and Performance, with Jo Weldon, Linda Simpson, and Elyssa Goodman, moderated by Ilise S. Carter, 3:00
Writing the Bally: Sideshow as a Main Character, with James Taylor, Jim Moore, and Dawn Raffel, hosted by Trav S.D., 4:00
Body of Work: A Literal Literary Variety Show, with Jo Weldon, Johnny Porkpie, Fancy Feast, Victoria Vixen, Garth Schilling, and more, hosted by journalist, author, writer, sword swallower, fire-eater and straitjacket escape artist the Lady Aye, $25, 7:00
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Japan Parade and Street Fair returns to NYC May 10 (photo courtesy Japan Parade)
Who: Masaharu Morimoto, Sayaka Yamamoto, Sandra Endo, the cast of ATTACK on TITAN: The Musical, Koji Sato, Soh Daiko, COBU, Taiko Masala Dojo, Harlem Japanese Gospel Choir, Japanese Folk Dance Institute of NY, Yosakoi Dance Project — 10tecomai / KAZANAMI, IKO Kyokushinkaikan, New York Kenshinkai, Anime NYC, Miyabi Koto Shamisen Ensemble, more What:Japan Parade and Street Fair and Japan Night concert Where: Parade: Central Park West between Sixty-Eighth & Eighty-First Sts.; concert: Edison Ballroom, 240 West Forty-Seventh St. When: Concert: Friday, May 9, $81.88-$108.55, 5:30; parade and street fair: Saturday, May 10, free, 11:00 – 5:00 Why: The fourth annual Japan Parade and Street Fair takes place on May 10, celebrating the long friendship between the United States and Japan. Among the many participants in the parade, which kicks off at 1:00 at Central Park West and Eighty-First St. (the opening ceremonies are set for 12:30 at West Seventy-First St.), will be the cast of ATTACK on TITAN: The Musical, Hello Kitty, My Melody, Kuromi, taiko drummers, Japanese dance troupes, martial arts organizations, language schools, a gospel choir, singer-songwriter Sayaka Yamamoto, and members of Anime NYC. The grand marshal is Iron Chef restauranteur and author Masaharu Morimoto, the community leader is JAANY president Koji Sato, the honorary chairman is Ambassador Mikio Mori, and the emcee is television news correspondent Sandra Endo. In addition, there will be a street fair from 11:00 to 5:00 on West Seventy-Second St. between CPW and Columbus Ave., featuring food and drink, calligraphy, Yukata, origami, tourist and cultural information, a donation tent, prizes, and more.
“I am deeply honored to be appointed the grand marshal of this year’s Japan Parade in New York City,” Chef Morimoto said in a statement. “This role gives me a unique opportunity to celebrate and share the rich, dynamic culture of Japan with the heart of one of the world’s most vibrant cities.”
The parade will be preceded on May 9 by Japan Night at the Edison Ballroom in the Theater District, with performances by the cast of ATTACK on TITAN: The Musical, Miyabi Koto Shamisen Ensemble with Masayo Ishigure, and Sayaka Yamamoto, the former captain of NMB48, in addition to a sake tasting and a crafts presentation by ASP Group. The event will be hosted by NBC News correspondent Emilie Ikeda; tickets are $81.88-$108.55.
“The Japan Parade, a community-wide effort, represents the interwoven cultural and economic ties between Japan and New York, reflecting — and deepening — the strong alliance between Japan and the US,” Ambassador Mori added. “And right now, with the world in considerable need of unity, goodwill, and hope, Japan–US relations are more vital than ever, demonstrating what can be accomplished by working together towards common goals. So, by extension, the Japan Parade is also vital — the greater the celebration, the greater our cooperation!”
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Who:Nova Ren Suma,Libba Bray What: New York City launch of Wake the Wild Creatures Where:McNally Jackson SoHo, 134 Prince St. When: Wednesday, May 7, seat $5, book and seat $18.99, 6:30 Why:At first it was beautiful. A hunter’s moon hovered in the sky, tremendous and pulsing with light, making the air glow warm all around me. I was spending the night out on my own, near the perimeter marked with subtle symbols and stones, wandering for the joy of it, then running because I could. I lost hold of time passing, or maybe the hours themselves held still. Tree bodies everywhere. Knotted oak shoulders and the rough, ridged skin of red spruce and tall firs. The forest I’d known all my life was awake, and so was I: two quick legs whipping through the bright-gold dark, more animal than girl.
I reached the clearing with the seven white pines, their heads thrust up, and stopped to get my breath back. The mist filled my lungs, peppery and also sweet, and the momentum pushed me forward, but I wasn’t about to go farther than where I could see from this cliff edge. I wouldn’t dare. Giddy, I dropped into a bed of moss, soft and slick in spots, and rolled in it, howled for no reason, felt close to an understanding of some kind, as if an eye inside me was peeling open. It was the first full moon after I turned thirteen, and I knew that whatever happened in this next stretch of hours would change me forever after.
I wasn’t wrong.
So begins #1 New York Times bestselling author Nova Ren Suma’s latest thrilling novel, Wake the Wild Creatures (Little, Brown Books for Young Readers, May 6, $18.99). The book is divided into eleven chapters, including “Light in the Forest,” “Strange Land,” and “Monsters,” telling the story of a teenager whose life is upended when her mother is arrested at an abandoned Catskills hotel where a group of women have built their own community, away from society.
In the April 12 edition of her newsletter, “The Words Around Us,” Suma explains, “It was the height of lock-down, when I couldn’t leave my house except for groceries, when I became obsessed with infamous lost places. I found myself fixated on mysterious and often mythical places in the world that aren’t always findable on maps, places where people disappear, places where tragic things are known to happen, places that have been lost — the Bermuda Triangle, Aokigahara Forest, Roanoke, Lemuria. I collected urban legends about mysterious places that couldn’t be found a second time — such as a gas station off a highway where someone stopped in the middle of the night and yet swore they never saw on that same road again, no matter how many times they drove it. Or a part of the forest glimpsed down a hidden path that could never be reached afterward, no matter how many times someone went searching. These places fascinated me. (Writers who’ve worked with me know how much I love a list of fascinations!) But many of these legends have unhappy endings and frightening underbellies, and I didn’t want to write a horror story. I had it in mind to write about a place you’d want to find . . . because the world outside is the horror.”
Suma, the author of such other novels as The Walls Around Us,A Room Away from the Wolves, and 17 & Gone, read an advance excerpt from her debut YA novel, Imaginary Girls, at twi-ny’s tenth anniversary party at Fontana’s in 2011. As with all her work over the last fourteen years, it is clear in Wake the Wild Creatures how painstaking a writer she is; every word, every sentence has a potent immediacy, with nothing extraneous seeping in. She is a master storyteller who devises unique, surreal plots that are all too real.
(photo courtesy Nova Ren Suma on Instagram)
Suma told twi-ny, “Writing Wake the Wild Creatures changed and challenged me as a person in a different way than all of my previous books. Yes, this was a hard book to write and articulate in the way I thought the story deserved, and it took me more time than I ever imagined, but I mean beyond that. This was the book that faltered and re-found its footing during the pandemic. This was the book that made me face my own pessimistic ideas about humanity and our collective future and consider the ways my own small life could be approached in a different and more courageous way. In this story there is an off-grid community hidden away in an old abandoned hotel in the Catskill Mountains, and they have turned their backs on broken society below. Writing this place — the Neves — helped me find hope again and allowed me to see a way to the future. I most want the book to find its readers and perhaps help do the same for them.”
She added, “Everything feels different on the other end of writing this novel. I lost my editor while I was writing this book (don’t worry, she’s okay! She’s a literary agent now!), and I’m happy to say we did get to finish our editorial work together. But the tumult wasn’t over. I then lost two more editors. My longtime publisher, the beloved Algonquin Young Readers, was shuttered. I have since found a new publishing home in Little, Brown, and I’m completely surprised that I landed on my feet, yet I still feel so dazed about where I was when I started . . . and where (and who) I am now. I write these words from a train as I head out on my first-ever pub week book tour, a publishing dream I never dared allow myself to wish for because I didn’t think it could happen to me. But no matter what happens with this book out in the world, I know what I put on the page: the story I most needed to tell in this current moment.”
The book tour brings Suma to McNally Jackson SoHo on May 7, joined by Printz Award–winning author and playwright Libba Bray (Under the Same Stars,Going Bovine) for a conversation and signing. Admission is $5 for a seat or $18.99 for a seat and a copy of Wake the Wild Creatures.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Gibney Company will be at the Joyce May 6–11 with three premieres (photo by Hannah Mayfield)
GIBNEY COMPANY
The Joyce Theater
175 Eighth Ave. at Nineteenth St.
May 6–11, $62-$82 www.joyce.org gibneydance.org
“This season at The Joyce embodies what Gibney Company stands for — bringing together choreographers with distinct voices, movement languages, and artistic philosophies to shape a program that challenges, inspires, and moves us,” founding artistic director and CEO Gina Gibney said in a statement. “Lucinda Childs, Peter Chu, and Roy Assaf each bring a unique lens to dance, offering profoundly different yet equally compelling perspectives on how movement can communicate, resonate, and evolve.”
The New York–based dance and social justice troupe will be at the Joyce May 6–11, presenting three works. The evening begins with the US premiere of Roy Assaf’s A Couple, a fifteen-minute duet about relationships, set to music by Johannes Brahms performed by Glenn Gould and featuring “Perhaps you are a couple” text by Ariel Freedman; the pairings will be Graham Feeny and Zack Sommer, Madison Goodman and Lounes Landri, and Madi Tanguay and Andrew McShea.
The bill continues with two world premieres, first Peter Chu’s Echoes of Sole and Animal. The full company, consisting of Tiare Keeno, Jie-hung Connie Shiau, Feeny, Sommer, Goodman, Landri, Tanguay, and McShea, explore how sound shapes space, with movement inspired by animal Qi Gong and Taiji philosophies in search of human compassion and connection, with music and sound design by Djeff Houle in addition to immersive guitarist Ferdinand Kavall’s 2024 “Flageolets.” Chu also designed the costumes with Victoria Bek.
The program concludes with Lucinda Childs’s Three Dances (for prepared piano) John Cage, which takes Childs back to her Judson days, examining transdisciplinarity and formalism through structured repetition. The twenty-minute work, performed by all eight dancers, is set to recordings of Cage’s 1944–45 three-part piece played by Xenia Pestova and Pascal Meyer.
“Gibney Company is built on the idea that dance is a conversation — between artists, disciplines, traditions, and generations,” company director Gilbert T. Small II added. “This program brings together choreographers whose work is shaped by their histories, their influences, and the questions they explore through movement. We are honored to collaborate with such extraordinary artists whose work expands the boundaries of contemporary dance.”
Some shows are nearly sold out, so act fast to get tickets. The May 8 performance will be followed by a Curtain Chat with Childs and biophysicist and applied mathematician Dr. Michael Shelley, who participated together in the Open Interval residency combining dance and science.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
On August 12, 1978, the New England Patriots were playing a preseason game against the Oakland Raiders at Oakland-Alameda County Coliseum. Late in the second quarter, the Pats have a third and eight at the Raiders twenty-four-yard line. QB Steve Grogan calls the 94 Slant, and wide receiver Darryl Stingley heads downfield. At the ten-yard line, Stingley reaches for the overthrown pass and is crushed in midair by two-time Raiders All-Pro safety Jack Tatum, known as the Assassin for his punishing style of play. Stingley immediately crumples to the ground. Four Oakland defenders look down at Stingley and walk away; Patriots wide receiver Russ Francis stands over his fallen teammate, knowing something is wrong. The twenty-six-year-old Stingley is wheeled off the field on a stretcher, a quadriplegic for the rest of his life; he died in 2007 at the age of fifty-five. Tatum wasn’t penalized on the play and never apologized to Stingley, claiming it was a legal hit and that he had done nothing wrong. Tatum, who died in 2010 at the age of sixty-one, was also involved in the Immaculate Reception on December 23, 1972, in a playoff game against the Steelers; with twenty-two seconds left and Pittsburgh down by one, future Hall of Famer Terry Bradshaw was facing a fourth and ten from his own forty. He ran to his right and threw a pass down the middle. Tatum smashed into Steelers running back Frenchy Fuqua, the ball popped up into the air, and future Hall of Famer Franco Harris picked it up by his shoestrings and ran forty yards into the end zone for the winning score.
Filmmaker and installation artist Matthew Barney was eleven years old when Tatum pummeled Stingley. Seeing the collision over and over again on replay did not prevent Barney from becoming a star quarterback in high school in Idaho. But at Yale, he switched from sports to art, beginning his “Drawing Restraint” series in 1987 and making his Jim Otto Suite in 1991–92, about orifices, bodily fluids, energy, Harry Houdini, and Raiders Hall of Fame center Jim Otto, who wore the number double zero, mimicking the letters at the beginning and end of his palindromic last name.
In 2023, Barney said farewell to his longtime Long Island City studio with Secondary, a five-channel video installation that used the Tatum-Stingley play to explore violence in athletic competition. Barney transformed the studio, which was right on the East River, into a football stadium, with a long, artificial turf surface divided into geometric patterns of different colors, centered by his “Field Emblem,” his Cremaster logo, an ellipse with a line going through it, evoking –0-. There were monitors in all four corners of the field, along with a three-sided mini-jumbotron hanging from the ceiling. Visitors could sit on the field or a bench; there was also a painting on the wall, an owners booth filled with football paraphernalia, and a ditch with broken piping and mud dug into the concrete. Outside, on the facade facing the water, there was a digital countdown clock next to graffiti that said, “Saboroso,” which means “delicious.”
Written and directed by Barney, photographed by Soren Nielsen, and edited by Kate Williams, the film — which lasts sixty minutes, the length of a football game — has now been reimagined on a single screen, where it will be shown at Metrograph on May 3 at 5:00, in conjunction with the publication of a two-volume companion book (Rizzoli, April 2025, $115), featuring contributions from Eric Banks, Jonathan Bepler, Raven Chacon, Mark Godfrey, Juliette Lecorne, Helen Marten, Maggie Nelson, and David Thomson; Barney will be at Metrograph for a postscreening discussion with book editor Louise Neri and Banks, followed by a reception with signed books available for purchase.
The multichannel version kicks off with indigenous rights activist Jacquelyn Deshchidn, a Two-Spirit Chiricahua Apache and Isleta Pueblo soprano, composer, poet, and public speaker, performing an alternate national anthem, a none-too-subtle jab at a league that still has teams using offensive Native American names and imagery. The cast, primarily consisting of dancers and choreographers, features movement director David Thomson as Stingley; Raphael Xavier as Tatum; Shamar Watt as Raiders safety Lester “the Molester” Hayes; Wally Cardona as Grogan; Ted Johnson as Francis; Isabel Crespo Pardo, Kyoko Kitamura, and Jeffrey Gavett as the line judges and referees; Barney as Raiders Hall of Fame QB Ken “the Snake” Stabler, who died of colon cancer but was discovered to have had high Stage 3 chronic traumatic encephalopathy (CTE), the disease that affects so many football players, brought on by getting hit so much in the head; and Thomas Kopache as Raiders owner Al Davis, whose motto was “Just win, baby,” no matter the cost. (Football fans will also notice cameos by actors portraying such Raiders favorites as wide receiver Fred Biletnikoff and defensive end John “the Tooz” Matuszak, who became an actor and died in 1989 at the age of thirty-eight from an opioid overdose.) The actors are generally much older than the people they represent, several of whom never made it to the age the performers are today.
The experimental film does not have a traditional chronological narrative; instead, Barney focuses on Tatum, Hayes, and Stingley training in slow motion in equipment rooms as if preparing for a ballet, Grogan making a football out of a gooey substance and then practicing with it, members of Raiders Nation shouting and cheering in fierce black-and-silver Halloween-like costumes, and players venturing into the muddy ditch, the broken pipe echoing Stingley’s shattered body. The music, by sound designer Jonathan Bepler, envelops the audience in a parade of noises, from hums and breathing to clangs and screams. Shots of the Manhattan skyline and the East River beckon to another life outside. The screens sometimes display the same footage, while other times they are different; it is like the viewer is at a football game, with the choice whether to watch the quarterback, the defensive alignment, or other fans in the stands. There is no actual pigskin in the film.
Matthew Barney turned his LIC studio into a multimedia installation (photo by twi-ny/mdr)
The game of football has always been lionized for its violence. Even as the league changes rules to try to protect the quarterback, kick returners, and receivers, the sports networks repeatedly show brutal hits like the one on Dolphins quarterback Tua Tagovailoa against the Cincinnati Bengals that resulted in severe head and neck injuries. When we think of Washington Redskins quarterback Joe Theismann, the first thing we remember is the career-ending injury he suffered on Monday Night Football in 1985 at the hands of New York Giants linebackers Lawrence Taylor and Harry Carson, brutally shattering his leg, and not his 1982–83 MVP season when he led his team to a Super Bowl victory over the Dolphins.
But Barney (River of Fundament,“Subliming Vessel”) is not merely commenting on football. Secondary is about America itself, its rituals and celebrations, its embracing of violence on and off the field. It’s about our lack of respect for the human body and one another, about a country torn apart into blue and red states like opposing teams, ready to do whatever is necessary to just win, baby.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Who:Yepoka Yeebo,Stuart A. Reid What:Anansi’s Gold: In Conversation with Yepoka Yeebo and Stuart Reid Where:The Africa Center, 1280 Fifth Ave. between 109th & 110th Sts., and online When: Wednesday, April 30, free with advance RSVP, 6:30 Why: “In a castle by the sea in Accra, our man was telling his story. Outside, the sky was so bright it was almost white. In the shallows next to the castle, the waves were pale gray with white caps. Farther out to sea, they turned a shimmering blue. Huge fishing canoes rocked gently, close to shore. On the horizon, container ships lined up, waiting to dock. The air smelled of salt and smoke and brine. The castle — Osu Castle — was cut off from the rest of Accra by palm trees and checkpoints. It was a maze of archways and staircases and parapets, patched together over four centuries. Some of its walls were brightly whitewashed. Others were gray concrete, slick with algae. Ancient cannons and soldiers with assault rifles lined the castle’s walls. Even without stepping into its underground dungeons, you could tell that unspeakable things had happened here. In a heavily guarded room at the heart of the castle, a haze hung in the air as our man began. The history of Ghana, he said, had a secret chapter. Kwame Nkrumah, the country’s first president, had revealed it on his deathbed in 1972.”
So begins British-Ghanaian journalist Yepoka Yeebo’s true-crime bestseller, Anansi’s Gold: The Man Who Swindled the World (Bloomsbury, April 2025, $19.99), which tells the story of con artist supreme John Ackah Blay-Miezah, who perpetrated a long, complicated financial fraud that involved a CIA-funded military junta, Ghanaian statesman Ako Adjei, former Nixon attorney general John N. Mitchell, and several of Kwame Nkrumah’s cabinet ministers, among others, stretching from Ghana to Philadelphia.
In conjunction with the release of the paperback edition of the book, which won the Jhalak Prize and the Plutarch Award for Biography, Yeebo will be at the Africa Center on April 30 at 6:30, speaking with writer and editor Stuart A. Reid, author of The Lumumba Plot: The Secret History of the CIA and a Cold War Assassin.
Admission is free with advance RSVP; the event will also be livestreamed on YouTube and Facebook.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Opal Loop / Cloud Installation #722503 is part of Trisha Brown season at the Joyce (photo by Maria Baranova)
TRISHA BROWN DANCE COMPANY
The Joyce Theater
175 Eighth Ave. at Nineteenth St.
April 29 – May 4, $52-$72 www.joyce.org
For its 2025 season at the Joyce, Trisha Brown Dance Company looks back at its seminal Unstable Molecular Structure Cycle while also forging ahead into the future.
Running April 29 through May 4, the program features three dances, beginning with the world premiere of Time again, which explores the concept of change, repetition, chance, and familiarity. Choreographed by Lee Serle, who was mentored by Brown in 2010 through the Rolex Mentor and Protégé Initiative, the work features set and visual design by Mateo López, who was mentored by William Kentridge in 2012–13 in the Rolex program, lighting by Jennifer Tipton, and music by Australian sound artist Alisdair Macindoe. It will be performed by TBDC members Savannah Gaillard, Rochelle Jamila, Burr Johnson, Ashley Merker, Patrick Needham, Jennifer Payán, and Spencer James Weidie.
Following intermission, the company returns with two pieces from the Unstable Molecular Structure Cycle, which executive director Kirstin Kapustik calls “a series of works that embrace fluidity, unpredictability, and the beauty of constant change.” First up is 1980’s Opal Loop / Cloud Installation #722503, a collaboration with Japanese fog artist Fujiko Nakaya that invites the audience “to bring together images within themselves.” Merker, Needham, Payán, and Weidie perform to the sounds of water passing through high-pressure nozzles, with costumes by Judith Shea and lighting by Beverly Emmons.
The evening concludes with 1981’s Son of Gone Fishin’, which Brown called “a doozey. In it I reached the apogee of complexity in my work.” The full ensemble randomly selects sections of Robert Ashley’s score from his three-opera opus Atalanta, with costumes by Shea and lighting by Emmons evoking the original set design by Donald Judd.
To dive deeper, there will be a Curtain Chat following the April 30 performance.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
