Robert Israel
The domestic demolition in Kate Snodgrass’s script is served au flambé.
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Despite some missteps and miscasting bumps along the way, this staging faithfully captures playwright August Wilson’s searing poetic vision.
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“Samuel Beckett’s work speaks to me because he’s a very visceral writer. And, because I have training as a clown, I think of him as a natural clown.”
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Steve Stern’s novel about the Jewish expressionist painter Chaim Soutine is more informative than it is engaging.
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Many have surrendered to Joy Harjo’s undeniable shamanistic charms and classify her as a national treasure.
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Madeleine George’s uneven 90-minte one-act comedy/drama borrows heavily on Greek mythology to zip up the misadventures of a cluster of suburban women in New Jersey,
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“A lot of censorship in America has to do with the impulse to shut down what women have to say, literally hanging and burning them as witches to shut them up.”
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In the process of exploring the ideas that shaped Lorraine Hansberry’s understanding of her art and the world, the volume confirms the writer’s relevance during these troubled but potentially transformative times.
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The current rage for inserting the personal/confessional in everything from cookbooks to literary criticism can go too far.
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A singular muscularity infuses these short stories, a confidence that astonishes.
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