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I have decided that on my home page to start listing Favorites rather than keep up with current readings/viewings/listenings, etc. That is what your blog is for, says I.
So here's the scoop of the day:
I've just cracked the surface of The World is Flat by Thomas Friedman. It is huge in volume and scope. He is dealing with one of my favorite topic, Globalization. His theory is that we are in the 3.0 version of this phenomenon and it has been keeping my up at nights. More later.
Finally finished the August Wilson journey by reading Radio Golf in American Theatre Magazing (I must say this is an excellent magazine, which often times prints full versions of stellar plays). Wilson's final play of his 10 play cycle was jaw dropping. My favorite of his plays is Jitney, which is one of the first he began, though not the first produced. Radio Golf had the same feel of Jitney and ended in my favorite way, open-ended. The main question that most Wilson scholars ask is, "Where do we go from here?" Wilson does not answer be he leaves his characters ready to set forth on two divergent paths. Without stating his preference, Wilson fades the lights to black, and defines an American culture. Bravo! And we miss you, man.
GroundUp Theatre, who is producing my new play, F., inspired by the Faustus myth, more info on the production here is geting ready to do The Tempest by William Shakespeare. I could not help myself by reading this play, which in my defense was on my shelf. I look forward to their production and was awed once again at the bard (i am trying to read them all, probably a third of the way through), especially the monologue at the end where he sets Prospero forth as the Playwright offering the plea that I admire and try to adhere in all my writing, which is that he wrote to entertain...anything else would be uncivilized.
Just before all these, I read The Accident by Elie Wiesel and am on the same mission, to read all of his work. It is slightly absurd, but The Accident reminded me of Irvine Welsh's Marabou Stork Nightmares, whose protagonist also lays in a coma and at death's door. Welsh modernizes the structure of the story, maybe even postmodernizes it, but Wiesel captivates without the flash. I am learning that it is because I am Jewish that his work reaches me so poignantly. I recently purchased Dawn as my next Wiesel read. On the same bill, I bought The Dubliners (in constant pursuit of my short story writing inspiration and a collection of Harold Pinter work titled, Death, etc.)
etc., etc., etc.
jaw
So here's the scoop of the day:
I've just cracked the surface of The World is Flat by Thomas Friedman. It is huge in volume and scope. He is dealing with one of my favorite topic, Globalization. His theory is that we are in the 3.0 version of this phenomenon and it has been keeping my up at nights. More later.
Finally finished the August Wilson journey by reading Radio Golf in American Theatre Magazing (I must say this is an excellent magazine, which often times prints full versions of stellar plays). Wilson's final play of his 10 play cycle was jaw dropping. My favorite of his plays is Jitney, which is one of the first he began, though not the first produced. Radio Golf had the same feel of Jitney and ended in my favorite way, open-ended. The main question that most Wilson scholars ask is, "Where do we go from here?" Wilson does not answer be he leaves his characters ready to set forth on two divergent paths. Without stating his preference, Wilson fades the lights to black, and defines an American culture. Bravo! And we miss you, man.
GroundUp Theatre, who is producing my new play, F., inspired by the Faustus myth, more info on the production here is geting ready to do The Tempest by William Shakespeare. I could not help myself by reading this play, which in my defense was on my shelf. I look forward to their production and was awed once again at the bard (i am trying to read them all, probably a third of the way through), especially the monologue at the end where he sets Prospero forth as the Playwright offering the plea that I admire and try to adhere in all my writing, which is that he wrote to entertain...anything else would be uncivilized.
Just before all these, I read The Accident by Elie Wiesel and am on the same mission, to read all of his work. It is slightly absurd, but The Accident reminded me of Irvine Welsh's Marabou Stork Nightmares, whose protagonist also lays in a coma and at death's door. Welsh modernizes the structure of the story, maybe even postmodernizes it, but Wiesel captivates without the flash. I am learning that it is because I am Jewish that his work reaches me so poignantly. I recently purchased Dawn as my next Wiesel read. On the same bill, I bought The Dubliners (in constant pursuit of my short story writing inspiration and a collection of Harold Pinter work titled, Death, etc.)
etc., etc., etc.
jaw
posted by Joshua Aaron Weinstein at 4:34 PM
1 Comments:
Howdy, hi, hello, howyadoin, how's tricks? Those were all the greetings I could think of that started with "H." Oh wait! How's it hanging? This is Jake, by the by, Ed's friend.
Ed's trying to edit together this comedy sketch thing we did two summers back, and it's I think it may be driving him a little bit crazy. I was curious, do you have Ben's contact info? Is he right next to you right now? If so, punch him in the arm, but in the playful "Aw, get a load of this guy," way. If you do know how to get in touch with Ben, could you find out if he still has the video we shot a year a half of ago?
Also, you're lucky to have neat initials. Mine spell out Jes, which just sounds like what they'd call the douche-y "bad boy" on a Disney channel sitcom. You know, he'd wear a leather jacket, and there'd be a very special episodes where his other poor friends would all be doing pot, but then the main character of the sitcom would pull him back from the brink of hard core drug abuse.
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