What happens when a composer falls in love with a David Foster Wallace short story? Eric Moe describes the genesis of his “sit-trag /concert monodrama” Tri-Stan, his correspondence with DFW about the project, the challenges of translating a short story to a one-woman vocal piece, and why “making art is a lot more exciting when big risks are being taken.”
Are you “smarter in print than in person?” (I’m raising my hand.) And are you behind in your reading? (That’s me. Again.) In the Sept. 27 NY Times Sunday Book Review, Arthur Krystal investigates why good writers aren’t necessarily great conversationalists. Should we blame the antisocial demands of our work? Or do our mouths stammer because they’re out of practice — because our brains are used to the pace of writing (not to mention its magical editing function)? Or while our mouths make words, are our brains secretly elsewhere, still working on something? Or are they dormant, resting? Do our […]
