I went into Reaching For the Moon as blind as could be, having never heard of Elizabeth Bishop, her poetry, Lota de Macedo Soares, or the creation of Flamengo Park, and I left totally curious and enthralled by all of it.
"Writing a stage play and a screenplay have very little to do with each other. A stage play is just dialogue. One has to be able to communicate the play through disputation. A stage play is basically a form of uber-schizophrenia."
For some reason, those who vote for the Pulitzer Prize in Drama over at Columbia University are often smitten by the mufti-generational family saga. It worked quite a few times for O'Neill and plays like Sam Shepard's Buried Child and Tracy Letts's August: Osage County.
The New York Times took home a total of four category wins in feature writing and investigative, international and explanatory reporting. John Branch was recognized for his exceptional feature work on the paper's first-ever large-scale multimedia project, Snowfall.
Did anyone really think that an issue of the New Yorker would magically include even 50 percent women writers? No. Did we want to be reminded of that perpetual imbalance? Perhaps not. Did we need to be reminded? Absolutely.
When people talk about Dean Young, they talk about how his poems are loved by a.) poets and b.) everyone else. I don't know if that's true, I haven't conducted a survey, but after reading Bender: New and Selected Poems, I hope that it is.