Posted on

The Oldest Actor: A Theatrical History of Fire on Stage

A man lies on a palace roof in Argos, bored past endurance, waiting for a light. He has watched a year of nights for the one signal fire that will tell him Troy has fallen. When the beacon finally flares, his cry opens the Oresteia, and Western drama begins with a man announcing flame. Aeschylus understood something in 458 BC that the theatre has spent twenty-five centuries relearning: fire is a performer. It carries news, changes fate, pulls the eye from every competing object on the stage, and refuses direction. Each age of the theatre has hired it, and each age has paid the bill.

Continue reading → The Oldest Actor: A Theatrical History of Fire on Stage

Posted on

The Occupied Space from The Empty Space

There are two books on my desk tonight. One is thin, secondhand, printed in 1968, and it has followed me from apartment to apartment for fifty years the way certain arguments follow a person: quietly, patiently, refusing to concede. The other arrived this week in a shipping box with my name on the cover, and it exists because of the first. It is the answer, finally long enough. The thin book is Peter Brook’s The Empty Space, the most quoted stage doctrine of its century, and mine is The Occupied Space: Sixty Years After The Empty Space, and it is the longest answer I have ever written to anything: twelve chapters, a coda, and a half century of rehearsal rooms behind every page. This is the story of the quarrel, the trial, and the answer, told the way I can only tell it here, at home, at length.

Continue reading → The Occupied Space from The Empty Space

Posted on

The Candlelit Lie: The Illuminati, the Masons, the Skull and Bones, and the Power That Hides Nothing

The word Illuminati arrives wrapped in candlelight and oath, conjuring a hidden council of masterminds who steer history from a chamber no camera has ever found. The image has held its grip for more than two centuries, and the grip tightens whenever the world feels ungovernable. A pandemic, a market crash, an election that smells stolen, a war that makes no sense to the people paying for it: each crisis sends a fresh wave of seekers hunting for the secret hand behind the curtain. The search flatters the seeker, because it promises that the chaos has an author, that the suffering was planned, and that a door exists somewhere with the guilty men sitting behind it. That promise is a lie, and the lie does real damage, since the energy poured into chasing phantoms gets stolen from the visible machinery that shapes an actual life.

Continue reading → The Candlelit Lie: The Illuminati, the Masons, the Skull and Bones, and the Power That Hides Nothing

Posted on

Three Books on a Table

When this novel began, there were three physical books on my table, and none of them had anything to do with the others. One was a slim green-and-gilt volume from 1922 called The Wild Heart, eleven animal sketches of Puget Sound country, foxed at the corners, written by a woman almost nobody remembers. One was the Theogony of Hesiod, a genealogy in verse, roughly a thousand lines of who was born to whom, composed by a Boeotian farmer about seven hundred years before Christ. And one was the Inferno, in the English that Henry Wadsworth Longfellow made out of the worst years of his life. An animal book, a family tree, and a tour of hell. The Disposition is what happened when I stopped treating them as three books and started treating them as one instrument with three registers.

Continue reading → Three Books on a Table

Posted on

The Farmer’s Word: Winona LaDuke, a False Etymology, and the True Root of “Colonization”

A reader sent me a video clip. In it, Winona LaDuke opens a talk on colonization by reaching for the dictionary, and the first thing she says is wrong. LaDuke is Anishinaabe, from White Earth in northern Minnesota. She trained as an economist, ran twice for vice president on the Green Party ticket, wrote All Our Relations, and has spent four decades on wild rice, pipelines, and land recovery. Rooms fill when she speaks. So when she tells an audience that colonization “has the same root as the word colon” and that the root “means to digest,” that line travels. It is vivid, it is anatomical, it is easy to repeat, and it is the sentence people carry home. It is also folklore. This is a claim about the history of a word; no lexicon supports it, and it collapses the moment anyone opens a Greek dictionary. The rest of her argument is largely sound and in places understated. That is exactly why the false root matters. An argument this strong should not be walking around with a demolition charge strapped to its opening line.

Continue reading → The Farmer’s Word: Winona LaDuke, a False Etymology, and the True Root of “Colonization”

Posted on

The Lemurians of Mount Shasta: A Visit to the Hidden Country

California’s mystic volcano has tenants no census has ever counted. An inquiry into where they live, how they live, why they live, and what happened when I went up to ask. Drive north out of Redding on Interstate 5 and the land begins rehearsing for something. The pines close ranks, the grade climbs, and then the forest opens and the mountain is simply there: fourteen thousand feet of snow and andesite standing alone above the valley floor, keeping no company on that horizon, rising nearly ten thousand feet above everything around it. Joaquin Miller saw it in the 1850s and gave it the sentence it has never escaped: “Lonely as God, and white as a winter moon.” A mountain that looks like that collects tenants, and for a hundred years the most famous tenants of Mount Shasta have been a hidden people.

Continue reading → The Lemurians of Mount Shasta: A Visit to the Hidden Country

Posted on

DO HARM: The Book That Began with a Word I Did Not Know

I am not a physician. I have never cultured a specimen, read a chest film, or signed a death certificate. I trained as a dramatist at Columbia, in the Oscar Hammerstein II Center, which qualifies me to tell you how a scene builds and not much else about a hospital. So let me get the obvious objection out of the way early, because it is the first thing a serious reader should ask. What business does a playwright have writing a book about hospital-acquired infection? The answer is the whole book, and it starts in a shut room in Newark in 2002.

Continue reading → DO HARM: The Book That Began with a Word I Did Not Know