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"I would like to open this site for conversation with women of all ages, convictions and styles of life – wherever situated on the gamut of experience. In principle, there is no bar to men joining in, since how one defines women has a lot to do with what it means to be a man. But it is women I invite to pull up a chair at this virtual café table and put their questions and views into the conversation. I can be wrong as often as right, so specific advice will be avoided. What will be sought is light on how best to frame the situation of women, considered as a highly interesting problematic. What kind of hand have we been dealt, as women, and how can we best play it?
Comments are warmly encouraged on any post at any point."
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Tag Archives: Librettist: Alice Goodman
Dream Lessons
“Dream Lessons” When I was a small child, I had a recurrent nightmare in which someone was attacking me. I needed to scream for help but couldn’t, because no sound came out. I would try and try to scream, but … Continue reading
Posted in Culture, Evil, Fashion, Guilt and Innocence, History, history of ideas, Ideology, Legal Responsibility, life and death struggle, Memoir, Philosophy, Political, Psychology, relationships, Social Conventions, The Examined Life, The Problematic of Men, The Problematic of Woman
Tagged Achille Lauro, aesthetic values, being silenced, Choreographer: Mark Morris, Composer: John Adams, conformity, decency, demonstrators, Director: Peter Sellars, dream, Edouard Manet, fear, firing squad, group execution, History, human norms, Leon Klinghoffer, Librettist: Alice Goodman, Metropolitan Opera House, nightmare, normality, normative, oddball, official story, opera, ostracism, outlaw chic, personal narrative, protestors, social pressure, speechlessness, suppression, terrorists, The Death of Klinghoffer, The New York Times, The New Yorker, threat, trangressive, understanding, voice
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"Dear Abbie: The Non-Advice Column" 