The back jackets of much of Thomas Bernhard's English-language translations are burdened by such qualifications as "near genius" or "second only to Kafka and Beckett." This, of course, is no small praise: there is no shame in being second to Kafka or Beckett; there is no shame in being a "ne
Melissa James Gibson is at once an anomaly among contemporary playwrights and a sterling emblem of her contemporary theatrical period. As anomaly, she imbues each work with a singular integrity that seems almost defiant of the current overriding trend of theatrical collectives and hive-minde
Joseph Conrad's life is marked by the kind of outsize exploits that would be subject to skepticism were they claimed by anyone other than Joseph Conrad; so, too, does it only seem an ability unique to Conrad that the outré travails of his world's pedestrianly extravagant inhabitants appear