Is that a severed prostitute’s nipple in my Mozart? At City Journal, Heather MacDonald mourns the rise of slick, irreverent productions of classical operas in Europe known as Regietheater (director’s theater), a theory of opera direction that holds the director’s take on an opera to be as (0r more) important than the artist’s text.
“I’ve got to be writing. I have a few ways to make sure I can carve out time. Part one: Neglect everything else. Part two: Get disciplined.” David Mitchell writes about writing and the poetry of James Wright for The Atlantic. Pair with his story in tweets, “The Right Sort,” and Brian Ted Jones‘s Millions review of The Bone Clocks.
Don’t Suck, Don’t Die: Giving Up Vic Chesnutt by Kristin Hersh is a downright mesmerizing elegy to the eclectic singer-songwriter. Part idiot-savant, part deliberate curmudgeon , Vic Chesnutt (who Rolling Stone has called one of the greatest songwriters of all time) was notoriously difficult to spend a lot of time around. Hersh stopped by Electric Literature for an interview about the book and about losing her dear friend Vic. Bonus: for anyone unfamiliar with Chesnutt’s work, this video will get you close.
Books by Friends, a semi-regular feature at The Atlantic, sees writer James Fallows recommend the works of authors he knows. This week, he praises a book on the history of flight, a prediction for the economy and a jeremiad on American politics by Gary Hart. You could also read our own Kevin Hartnett on Fallows and American decline.
George Saunders is the subject of one of Deborah Solomon’s wacky interviews in the New York Times. (via Ed)Scott gets a byline in the SF Chronicle for his review of Duchess of Nothing by Heather McGowan.Elizabeth Crane summarizes the Tom Cruise flick Minority Report like only she can.”A rare collection of Dracula-related books is to be handed over to Dublin City Library.” I had no idea Bram Stoker was Irish.