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Stephen Dixon, ‘Experimental Realist’ Author, Dead At 83

“[His] humorous, freewheeling fiction traced the shocks and jolts of romance, aging and everyday life, in an experimental but plain-
spoken style … [He] published well over 500 short stories in The Paris Review, Playboy, Esquire and legions of small magazines across the country. His first book came out only when he was 40, but he made up for lost time in publishing 35 more novels and story collections.” – The Washington Post

Ted Gioia: Music As A Cultural Storage Medium

What people don’t understand is that, for most of history, music was a kind of cloud storage for societies. I like to tell people that music is a technology for societies that don’t have semiconductors or spaceships. If you go to any traditional community, and you try to find the historian, generally it’s a singer. Music would preserve culture; it would preserve folklore. Well, nowadays, we rely on cloud storage to be the preserver of these same things. And I think there’s a strange shift. – Medium

The Trance Effects Of Arts

Effervescence is generated when humans come together to make music or perform rituals, an experience that lingers when the ceremonies are over. The suggestion, therefore, is that collective experiences that are religious or religious-like unify groups and create the energy to sustain them. – Aeon

‘Slave Play’ Author Jeremy O. Harris Has Made For Himself A ‘For Colored Girls’-Style ‘Choreopoem’

“The new work, Black Exhibition” — which he developed under the pseudonym @GaryXXXFisher — “is described in the script as an attempt ‘to look at a queer black male psyche through the lens of its literary influences'” — those being, among others, Kathy Acker, Samuel R. Delany and Yukio Mishima. – The New York Times

Why Jeremy O. Harris Had A Special Performance Of His ‘Slave Play’ For A Black Audience

“That was me being able to look certain people in the face and say: ‘You’re wrong.’ So many people have dictated what my intentions were with Slave Play. One of the things they’ve always articulated is that I wrote Slave Play for white people and that it’s not written for a black audience. That’s so bizarre to me. … It was amazing to sit in a 99.9% black audience and see that 99.9% of the play worked. And the parts that exhilarated the audience on other nights still exhilarated the audience that night.” – The Guardian