Suzan-Lori Parks wrote a play every day during Trump’s first 100 days as president which will be published next year as 100 Plays for the First Hundred Days. She talks to American Theatre about why she decided to undertake such a project, how difficult the process was and the importance of showing up and being present. Includes excerpts from the book.
“After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of ‘realism.’ It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop (‘this isn’t a story,’ ‘this is poetry,’ ‘what is this’), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life.” Susan Steinberg asks what happened to American experimental writing.
“Literature can use secrecy as a device to ensnare readers, to pull the wool over their eyes or to reveal to them things that the characters can’t see. Whether large – businessman by day, serial killer by night; or small – where a character silently yearns for an ex-lover.” Eli Goldstone compiles a list for The Guardian of 10 novels whose characters are concealing big secrets, including a few lesser-knowns like Shirley Jackson‘s We Have Always Lived in the Castle and New Finnish Grammar by Diego Marani.
This is an interview in which five-year-old Desmond and eight-year-old Everett ask some hard-hitting questions of M. Quint regarding her new book The Defiant, and in which Jonathan Lethem makes a brief cameo to helpfully facilitate the discussion–do you need any more reason to read this piece? Here’s a quick hit from C. Max Magee, creator of The Millions, on giving the classics to kids.