Browsing: March-April 2007

March-April 2007

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The following paper was first delivered at the New England Women’s Studies Conference in March 2005.

THERE ARE many challenges in writing lesbian-feminist plays, and today I want to talk about two of them. The first is working without antecedents in the popular consciousness, without a canon of lesbian dramatic work from which to draw. The second is the particular kind of audience response to the work which generally results from this lack of a cultural context.

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WHAT BRINGS AUDIENCES to the theater is “the expectation that the miracle of communication will take place,” explains a protester to the board of a city arts complex in “Hidden Agendas,” a one-act play that Terrence McNally wrote in 1994 in response to government-inspired attempts to censor an exhibition of the late Robert Mapplethorpe’s photographs. “Words, sounds, gestures, feelings, thoughts! The things that connect us and make us human. The hope for that connection!” The purpose of theater, McNally says in a subsequent interview, is to “find out” and explore “what connects us” as human beings.

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SEXUALITY HAS BECOME perhaps the single most volatile issue in the highly emotional and long-running set of skirmishes known as the “culture wars” that have shaped American culture since the 1970’s. In this sophisticated and subtle collection of essays, sociologist Arlene Stein provides a roadmap to this conflict. “American culture is a curious mix of the shameless and the shamers,” Stein argues, “a seemingly endless parade of Pamela Andersons and Jerry Falwells strutting their stuff and wagging their fingers.”

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WHEN REVIEWING a recent book for The New York Review of Books, writer Larry McMurtry opened by indulging in the old thought experiment of deciding what one author’s works he would take with him to the proverbial desert island. His choice was none other than Gore Vidal. Noting that Vidal’s oeuvre encompasses 46 books that cover the gamut from historical novels to satirical plays and screenplays, literary essays, and political memoirs, McMurtry explained that Vidal has “a prose style that should be the envy of the dwindling few who realize that prose style matters.”

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TENNESSEE WILLIAMS DIED just when AIDS was starting to explode (1983)—eight years after his Memoirs were published (1975), to more than one hostile review from a critic offended by the frank sexuality of the text. ( “If he has not exactly opened his heart,” went one notice, “he has opened his fly.”) Now New Directions is republishing them with an introduction by John Waters and an afterword by Allean Heale.

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A painter and photographer who’s acclaimed by some critics as the best portrait artist in American history, Thomas Eakins is today a very hot property. His 1875 painting The Gross Clinic, which depicts Dr. Samuel Gross performing surgery, is still in the news. Purchased by Thomas Jefferson University in 1878 for $200, the Philadelphia Museum of Art has recently fended off a bid for the painting rumored to be $68 million. Once considered too gory for general display, illustrating as it does Eakins’ thorough understanding of anatomy, it is now considered by some to be the greatest 19th-century American painting.

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