A performer needs and craves a live audience.
From Stacey D'Erasmo
The songs in 'Wonderland' don't have a melodic life for me - I'm not a musical person - but they have an emotional life, an emotional echo perhaps.
One of the first times that I went into a book store and saw a bunch of my books, my impulse was to put them all under my coat and run away so that no one else could see them, even though, of course, I wanted everyone to see them.
A lot of times, really wonderful things that have come my way have come basically out of the blue.
I was influenced by big, strong voices - writers like Elizabeth Bowen, Virginia Woolf, Jane Bowles; gay writers like Ed White, Michael Cunningham, Allen Hollinghurst; and contemporary lesbian writers, like Dorothy Allison.
On a deeper level, there's a level of privacy that I need in order to work, and if there's been a time when there's been a lot of publicness in my life, it can be a little bit difficult to sort of rebuild that private space.
The second time is the one we remember, where memory begins. Putting the moments in order is only half the story. What matters is the weight of the moments as they accumulate.
Historians of European royalty have written of the king's 'two bodies' : one mortal and corrupt; the other divine, abstract and timeless.
One of the many pleasures of 'Versailles' is the way in which it seems to emanate not only from the vexed inner being of Marie Antoinette but from the interstices between what we imagine of her and what she was.
The knot of intimacy at the center of 'Ten Thousand Saints' is the friendship between Teddy McNicholas and Jude Keffy-Horn.
7 perspectives
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