Do Male Writers Have A Woman Problem?

“Jonathan Franzen’s approach raises larger questions about the male literary establishment’s familiar, deep-seated ambivalence about women and ambition. How many male writers cite or talk about women authors who have influenced them? How many do they include among their jostling, competitive peers? It is, clearly, much easier to sustain the fraternal order, huddling together in a corner snarking about the plain girl in the expensive dress, than acknowledge that maybe she is smart, capable, and worthy of their competition.”

Who Cares If You Listen? Not Unrepentant Modernist Peter Eötvös

“I don’t think it’s important,” says the Hungarian-French composer. “If you start from a point of view of doing something for the public, you won’t create a new world. … Never give what the public asks. You must give the public what it needs – even if they do not always know it! Many people will understand 100 years later.”

Carrie‘s Creators Always Knew They Had A Good Musical In There Somewhere

Michael Gore, composer of Broadway’s most notorious flop, now re-worked and resurrected: “Had we seen a version of the show that we liked, and perhaps people didn’t like it or the critics didn’t like it, that’s one thing. But, you know, the reason we went back to this was hopefully for us to sit through this show from beginning to end and go, ‘This is what we had in mind.'”

Tone Of The Times: Berlinale Film Festival Features Conflict At Every Turn

At every turn, the Berlinale dished up a healthy does of rebellion, from the festival’s French opening entry, “Farewell My Queen,” a lush costume epic about Marie Antoinette and the women around her in the final days of the ancien régime, to the restored version of Sergei Eisenstein’s “October,” which was given a gala screening with a full orchestra.

Frank Gehry’s New Signature Theatre – A “Quietly Potent New Kind Of Space”

“For years, the Signature bounced around, renting space from the Public Theater downtown or holing up in a black box on Bond Street and then on far, far West 42nd Street. In 2004, the company was selected to be part of a revitalizing cultural mecca promised for Ground Zero. Mr. Gehry would be the architect of a new $700 million performing arts center, and the Signature would share marquee space with the Joyce Theater. But by 2007, with the whole site mired in controversy, the Lower Manhattan Development Corp. decided to cut costs and disinvite the Signature, a blessing in disguise.”