Can Serious Literature Survive In A Sea Of Digital Fragments?

“A transatlantic debate is currently raging about whether a decade of staring at computer screens, sending emails and text messages, and having our research needs serviced instantly by Google and Wikipedia, has taken a terrible toll on our attention, until our brains have been reconfigurated and can no longer adjust the tempo of our mental word-processing to let us read a book all the way through.”

The $1.5 Billion Writer

James Patterson “currently outsells JK Rowling, John Grisham and Dan Brown put together. This year he’s on target to sell more than 20m books in the US alone, adding to his $1.5bn in global sales, making him the world’s bestselling author by a mile.” But Patterson’s “scribbling” isn’t just a super-efficient brand, reaching for global dominance; it’s also a collaborative effort, honed and refined by a number of highly talented individuals.

Scaled-Down English National Opera Tracks A More Modest Path

For a thrusting and hungry tyro MD, Edward Gardner strikes a strangely wary note. He talks about the need for adventure, but enterprise is tempered with realism. ENO gives fewer performances now than at any time since the company moved to the London Coliseum 40 years ago. A playbill that once boasted more than 200 performances of more than 20 works is now reduced to about 115 of 12-13 main-stage titles.

What A New Mark Taper Means To LA Theatre

“The house that Gordon Davidson built to showcase bold American playwriting is still Los Angeles’ flagship theater. At once intimate and substantial, the Taper (now led by Center Theatre Group artistic director Michael Ritchie) has long been one of the most respected platforms for drama in the country. But the refurbished Taper is a reminder that it’s not simply architectural majesty and attention-grabbing world premieres that give a theater its distinctive identity.”