The Ghastly Impermanence: An Interview with David Pownall
Displaying an immense range of knowledge and interests, his radio plays run the diapason of thematic concerns. Yet whatever his subject be, Mr. Pownall’s plays are distinctive and brilliant. They reveal the deft hand of a master who truly believes in the power of a medium often in danger of being reduced to radio gaga and triviality.
The Ghastly Impermanence: Paper Radio
Professor Guralnick’s analysis is text-based. There is nothing inherently wrong with this. However, one can go too far.
We Need Communities of Works
An op-ed piece from Seattle author, poet and musician, Alvin L.A. Horn.
Hiked, On Premises
Fiction and metafiction overlap in the latest story from Nick Stokes.
A somewhat uplifting letter to America
Tom Mohrman performed his piece in front of the throngs at Weird and Awesome with Emmett Montgomery this past summer. We thought it was time to bring it back.
Welcoming the Return of the Light: Unsilent Night 2012
According to the “Unsilent Night” website, Phil Kline composed the piece in 1992, originally as a one-time way to bring back the experience of caroling and combine it “with his love of experimental music.” Because he was working with boomboxes, he wrote the piece to last 45 minutes, or the length of one side of a cassette tape.
The Ghastly Impermanence: In the Genes – The BBC Genome Project
When it comes to audio drama, BBC rules the roost. Like it or not, BBC remains the largest producer of audio drama in the English language, if not the world. To discuss audio drama at all, one has to deal with the BBC and their chokehold on the history of the field.
Interleavings: Serendipity and Auto/Biographical Process
I spent a good part of today searching for page numbers for footnotes in an essay I’m finishing up. The writing’s finished but my citations aren’t. No one’s fault but my own. Did I really think I would remember the page number to footnote 19 or to footnote 23 or to footnote 33? Nonetheless, good things came from my search, not the least of which is an answer to the question “Why write biography?”
Loss Machine and the Magic of the Banal
Here, as the magician clearly shows his tricks, the purpose is to prevent the audience from simply falling in love with effects by making the audience pay attention to their cumulative structure. Not “How’d he do that?” but rather, “What will he do next?”
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