The Review is edited by Sam Smith, who covered Washington under nine presidents, has edited the Progressive Review for 49 years, has written four books (two at the request of editors), been published in five anthologies, helped to start six organizations (including the DC Humanities Council, the national Green Party and the DC Statehood Party), was a plaintiff in three sucessful class action suits, served as a Coast Guard officer, and played in jazz bands for four decades.
Still others examine the possibility that Brown’s experience was merely a dream, and that all men fear that all men are, at the most basic level, evil. The story may be purposefully ambiguous, balanced perfectly between the good and the evil, as the story’s beginning an end are in direct opposition. (Fogle) Finally, the story has also been considered an examination of nineteenth-century gender roles and the concern that wives would encroach on their husband’s presence in the public sphere. Violation of this separation is present in the story, as Faith leaves her husband with a kiss on the doorstep, but then reemerges at the gathering. (Keil)
There is a continued focus on interiors in this show, with the distinction that the stark emptiness of his former interiors has now been populated. Whereas, in the past, Nhlengethwa did not want to “disturb the quietness of the interiors”, he has ushered people into these rooms and allowed their voices to fill the space. As part of his representation of these communal spaces, Nhlengethwa has also included several pieces inspired by a meal shared at his parents’ home, during which he noticed the shadows of his family talking, reflected on the wall.