A New Anthology Of Essays Pdf
Flaviano Bada
After celebrating our ten-year anniversary in 2021, we are proud to announce our first published anthology, featuring essays from each year of the last decade. The anthology celebrates a decade of publishing essays, livestreaming events, and bringing theatre practitioners together to amplify progressive and disruptive ideas, and exists as a result of the thousands of theatremakers who have shared their collective wisdom through contributions to this commons-based free and open platform.
In publishing this anthology, we hope to further our vision of a theatre field where resources and power are shared equitably in all directions, contributing to a more just and sustainable world. The writing highlighted offers a much-needed reminder that alternatives to the status quo are possible, and we are making them together by practicing otherwise everyday.
To enhance the anthology as an educational tool, in 2021 we commissioned six lesson plans, intended for use in college and university classrooms, from theatre educators and curriculum writers Emi Aguilar and Meg Greene. You can download the original six lesson plans here. Topics are:
We celebrated the publication of the book with a virtual event on HowlRound TV on 21 June. Anthology contributors Nicole Brewer, Will Davis, Lauren Gunderson, and Michael Rohd read selections from their essays and reflected on the past, present, and future of our field.
As HowlRound approached its ten-year anniversary in 2021, those of us who steward the platform began thinking about appropriate ways to celebrate a decade of publishing essays, livestreaming events, and bringing theatre practitioners together to amplify progressive and disruptive ideas. How could we offer gratitude within our commons-based frame while reflecting on the immense contributions of so many?
Creating this book necessitated an intentional process of inclusion and exclusion. It must be noted that there are many more essays from the HowlRound journal that merited being in this anthology, but not everything could fit. We had to make some tough choices. Of course, the good news is that every essay HowlRound has ever published is always digitally accessible and will continue to be part of our growing archive of practice and reflection.
We had hours and hours of joyous and painful conversation about what to keep and what to let go, which led us to a list of fifty essays total, between four and six for each year in the decade. Finally, we asked each author for permission to republish their essay and made final adjustments in accordance with their wishes. What you hold in your hands is our imperfect, subjective, best attempt at representing ten years of incredibly divergent and multiplicitous contributions to the HowlRound journal.
This anthology is a love letter to those who contributed to HowlRound over the past decade. Thank you for co-creating our knowledge commons. HowlRound and the theatre field are all the better for your offering. More broadly, we hope that theatremakers around the globe will benefit from seeing themselves and this decade of theatre practice reflected in this anthology, whether or not they have contributed to HowlRound.
The staff of HowlRound Theatre Commons at Emerson College respectfully acknowledge that our offices are situated on land stolen from its original holders, the Massachuset and Wampanoag people. We pay our respects to their people past, present, and future. Learn more about native land acknowledgements.
How do we fight back in an era of uncertainty, institutionalized cruelty, and widespread tolerance for ableism and hate? Written in 2017, the authors explore resistance, hope, self care, disability rights and justice, and the politics of Trump in a series of provocative, challenging essays.
**All royalties from Resistance and Hope will go to HEARD (Helping Educate to Advance the Rights of Deaf Communities). HEARD is the only organization in the nation that works to correct and prevent wrongful convictions of D/deaf and hard of hearing individuals.
Here, in this unusual collection, are some of the greatest essays in Western literature. Witty, informative and imaginative; the topics vary from starvation in Ireland, fine China, the extension of railways in the Lake District and the tombs in Westminster Abbey. A little like after-dinner monologues, they are passing thoughts expressed as journalism. Neville Jason reads with urbane clarity.
Television appearances included Maigret, Dr Who, Hamlet, Crime and Punishment, Dixon of Dock Green, When the Boat Comes In, Minder, Dempsey and Makepeace, and Windmill Near a Frontier. Amongst his film work was the Bond movie From Russia With Love. He was a member of the BBC Radio Drama Company three times, and was often heard in radio plays, documentaries and arts programmes.
Neville began his association with Naxos AudioBooks in the very early days of the label and was a prolific contributor to its output. Perhaps most notable was his Remembrance of Things Past by his beloved Proust, but his readings extended to the literary classics of Russia (War and Peace; Evgenii Onegin) and England (The Once and Future King and Far from the Madding Crowd). His work for Naxos was recognised on several occasions: as a director, he won Talkie Awards for Great Expectations and Poets of the Great War; and as a reader, he won AudioFile Earphone Awards for The Captive, Time Regained, The Once and Future King and War and Peace (Best Audiobooks of the Year 2007 and 2009).
Shortly before his death, Neville recorded The Periodic Table by Primo Levi, an idea for audiobook that he himself had suggested. Happily, he was able to hear the edited recording during his final days.
His phrasing and diction are superb, and he pronounces every word with nary a swallowed consonant. Jason also knows how to present these classics so they ring true to the modern ear, which is not easy considering
Like any bouquet, this one does not include every available horticultural specimen (the garden is a large one) and it has no criterion of choice other than the fancy of the gardener and his attempt to include some of the more famous and popular specimens. I offer my sincere apologies to anyone whose favourite essay does not appear here, and to the shades of any of the great authors whose work has not been included.
From Montaigne, writing in the 1570s, to Chesterton, writing in the 1930s, there is a span of some three and a half centuries, and over time styles, subjects, people and fashions changed enormously. To judge from the examples contained in this anthology, essays on the whole seem to have become progressively lighter in tone and less serious in terms of subject matter during that period.
However, if I am not mistaken, now, at the beginning of the 21st century, a revival of the serious essay seems to be taking place. Among the acres of newsprint on trivial and worthless subjects may be found articles written with a profundity and wit which bears comparison to the work of the notable essayists of the past. A new generation of writers is publishing volumes of essays, the wisdom and intelligence of which are not diminished by being expressed in the less formal English of today. It would seem that the spirit of Montaigne is alive and well, and continuing to inspire those working within the literary form he invented and to which he gave a name.
David L. Ulin, editor, is a frequent contributor to the Los Angeles Times , the LA Weekly, and other publications. He recently published Another City, an anthology of contemporary Los Angeles writers.
In this volume the Library of America offers the most complete literary portrait ever published of Nathanael West. Along with the four novels for which he is famous, this authoritative collection gathers his work in other genres, including stories, poetry, essays and plays, film scripts and treatments, and letters.
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And I know there is so much ELSE going on. SO MUCH. It never stops. I hope you are carving out the barest minimum of time to do whatever it is that brings you some relief these days, because really, we need all hands on deck to get through the next 42 days, and whatever comes after that. Please register to vote. Please vote, and early if you can. Please give money to places like Ditch Mitch and the Florida Rights Restoration Commission and directly to the Biden/Harris Campaign if you can. Text bank or write postcards. Please.
As someone who has published two essay collections (the last one just longlisted for the Pen/Diamonstien-Spielvogel Award for the Art of the Essay), I would argue that if you have a really great collection of essays, you do not need a platform (I certainly don't have one--I do have a readership because of past books but nothing I would call a platform). However, my books were published with a university press, so maybe if you are shooting for Penguin, then yes, you might need a platform (though I'lll admit, I hate that word).
A few weeks ago we talked about how to do an anthology. And I know some of you were probably turned off by that, and I\u2019m sorry not sorry. It\u2019s hard to do an anthology and if you aren\u2019t 100% ready to go full throttle with it, then it\u2019s best not to. There are plenty of other kinds of books to write.
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