On this edition of ST, we speak with the well-regarded author, essayist, and cultural critic Chuck Klosterman, who has published a number of books and also writes the weekly "Ethicist" column for The New York Times Magazine. Klosterman's latest title, "I Wear the Black Hat: Grappling with Villains (Real and Imagined)," is just out in paperback; it's a far-reaching, often funny, and highly entertaining exploration of why we as a society are so attracted to -- yet also, of course, repelled by -- villains both fictional and nonfictional...as well as the very notion of villainy itself.
(Note: This interview originally aired earlier this year.) There's an old Lenny Bruce one-liner that goes like this: "Everyday, people are straying away from the church and going back to God." In this day and age, there must be some truth to that idea; while it's true that more and more people in this country are giving up on the religion they grew up with or else rejecting organized religion entirely, it's also true that many who have turned away from religious institutions --- as well as many others who've lived wholly without religion --- really do hunger for something more than what con
Molière's "Tartuffe" --- or "The Impostor" --- is a classic French play that was first performed in 1664. Bitingly satirical and LOL funny, this play tells the story of a deplorable religious con-man who tries to obtain the title to his friend's estate by sending him to jail; the title character of this ever-popular comedy also tries to rob that friend blind, to seduce his wife and daughter, and so on. "Tartuffe" is a work that's often revived in updated versions or alternate settings, and such is the case with the production of "Tartuffe" that TU's Department of Theatre is now staging.
Last month, it was announced that the University of Tulsa's McFarlin Library had acquired a rare, well-preserved copy of a large, handmade, and lavishly decorated book that's seen by many experts as one the most handsome illustrated books produced during the 20th century. Published by Golden Cockerel Press in 1931, "The Four Gospels" is a sterling example of the renaissance in artistry and craftsmanship in British book design/production that occurred in the late-19th and early-20th centuries.
Our guest on this edition of ST is the Japanese-born British novelist Kazuo Ishiguro, one of the leading novelists of his generation, whose works have been translated into 28 languages, and who's also the recipient of the 2013 Peggy V. Helmerich Distinguished Author Award (which is bestowed annually by the Tulsa Library Trust).
On this edition of ST, we speak with Tony Kushner, the Pulitzer Prize-winning playwright who's well-known and widely celebrated for his drama, "Angels in America: A Gay Fantasia on National Themes," which first appeared in the early 1990s, and which was thereafter converted into an HBO-TV miniseries that was directed by Mike Nichols.
On this edition of our show, we speak with Max McLean, the producer and director of "The Screwtape Letters" --- he also formerly starred in this production --- which will be staged at the Broken Arrow Performing Arts Center on Saturday the 5th at both 4pm and 8pm. This is a theatrical adaptation of the C.S. Lewis novel of the same title, which is a widely cherished little book (commonly seen as a masterpiece, and dating from the early 1940s) that presents letters written by one of Satan's leading demons (named Screwtape) to his nephew (named Wormwood).
Nimrod International Journal, founded in 1956 here at TU, is a well-respected, twice-a-year literary publication that's been dedicated to printing work by writers both emerging and established for more than half a century. Our guest is Francine Ringold, editor-in-chief of Nimrod, who describes the latest issue, which is just out now. This issue's theme is "Lasting Matters: Writers 57 and Over" --- and as Fran adds, there will be a special, free-to-the-public reading from this issue tonight (Thursday the 27th) at 7:30pm in the Meinig Recital Hall at TU's Lorton Performing Arts Center.
Sure, you loved "The Catcher in the Rye" at the age of 16...but would you still love it? You appreciated "To Kill a Mockingbird" and "Cannery Row" way back when, but would that still be the case today? And on the other hand, if the plays of Ibsen or Shakespeare didn't exactly knock you out during that long-ago sophomore year of college, do you think they'd still miss the mark? Or might they be worth another shot?