Essays On City Of Glass

This requires us to engage in a deep revision of self-understanding, seeing our own lives, with our full voices and experiences honored and intact, as life itself rather than an “other” life.

What then do we see when we look back out on the larger queer and not-queer world?

We decided to move away from thinking of our pieces and presentations as a mine, hers, hers, and hers, and consider the possibility of an event featuring a shifting Barrie–K.–Mary–Ames voice that did not leave our audience confused. Four seemed about right given the time constraints of panels.

We established that the writing was the engine for/of the project, while still opening ourselves to formic possibility, emphasizing that we were as interested in what each other had to say as we were in what each of us had to write. Each of us wrote three-to-four-minute long answers.

Despite Stillman’s religious illusions, we are — argues Auster — alone in the universe, with no God and no Father Christmas.

This perception is the emotional fuel behind the novel, and Macmillan transposes it brilliantly to the stage.But what you remember most is the seedy set, designed by Jenny Melville, and the video work by Lysander Ashton, in a genuinely thrilling and enthralling evening. A truly collaborative piece, “Courting the Peculiar: The Ever-Changing Queerness of Creative Nonfiction,” began as a co-written conference proposal for the Association of Writers & Writing Programs (AWP) National Convention in Seattle, Washington, February 2013: What do we mean when we claim that creative nonfiction is a queer genre?Four queer-identified panelists collectively position creative nonfiction as a genre welcoming of writers and writing that embraces the peculiar, courts the unconventional, and opens to forms yet to be imagined.At the turn of the 20th century, Gertrude Stein in proposed: “Act so that there is no use in a center.” How can practitioners of creative nonfiction today use language to express truths still to come?Upon acceptance, the four participants—Barrie Jean Borich, K.Bradford, Mary Cappello, Ames Hawkins—discussed a desire to “do something different,” something other than the expected independently written and sequentially delivered four single-authored papers/pieces/essays, connected, perhaps, as essays in a collection, but remaining fairly discrete.At the same time, it’s fascinating to see how Auster’s work finds echoes in other British dramatists: elements of this novel appear in Martin Mc Donagh’s (the red notebook). The main casualties are the actors, who become secondary except for a couple of outstanding episodes. This post was written by the author in their personal capacity.As the projections dazzle the eyes, with rooms bleaching into greyness, outside scenes invading inner spaces, hotel rooms turning into railway stations, posters melting into life, maps appearing on walls and skyscrapers rising from the floor, there’s a thoroughly exciting sense of innovative theatre here. But the ensemble — Vivienne Acheampong (Vivienne), Mark Edel-Hunt (Quinn), Chris New (Quinn) and Jack Tarlton (the Stillmans) — are excellent, and the performers play several roles each. The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.We had not shared our responses prior to reading and were as engaged with the process as the audience.Each question created new openings, each its own unfolding and unfurling, each answer a making/remaking/unmaking.

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