1993 new yorker

[T]he limiting factor [in literature] is the reader. No other art requires the audience to be a performer. You have to count on the reader's being a good performer, and you may write music which he absolutely can't perform – in which case it's a bust. Those writers you mentioned and myself are teaching an audience how to play this kind of music in their heads. It's a learning process, and The New Yorker has been a very good institution of the sort needed. They have a captive audience, and they come out every week, and people finally catch on to Barthelme, for instance, and are able to perform that sort of thing in their heads and enjoy it. [11]

She added, with some passion, “And it’s death! The casual vacancy, the casualness with which death comes down. You expect a fanfare, you expect some sort of pathos or grandeur to it. And, you know, the first big death I ever suffered was my mother’s, and it was that that was so shocking: just gone.”

In the spring of 2013, the Berkeley Repertory Theater produced Wright’s play about Oriana Fallaci, “Fallaci,” directed by Oskar Eustis. A year later, the Arena Stage in Washington, ., premiered Wright’s acclaimed play “Camp David,” about the Carter-Begin-Sadat summit.

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In the spring of 2013, the Berkeley Repertory Theater produced Wright’s play about Oriana Fallaci, “Fallaci,” directed by Oskar Eustis. A year later, the Arena Stage in Washington, ., premiered Wright’s acclaimed play “Camp David,” about the Carter-Begin-Sadat summit.