"It's fairly easy to get beyond [Thomas] Bradshaw's purposefully thin surfaces--unless, of course, you're unwilling to look at what contorts all America: racism, and the bullshit notion that it doesn't affect our view of sex and love in a so-called post-racial country."Given this vehemently expressed attitude, I am surprised that Hilton Als was as polite to me as he was last summer, when I met him and asked him my confused question about what playwrights should do if they wanted to write a post-racial play!
--Hilton Als, "Critic's Notebook," The New Yorker, Sept. 28 2009
But at the same time, I can't help but wonder if my use of the term with Mr. Als – and my kinda-naive, bourgeois-white-girl-from-San-Francisco-by-way-of-Vassar attitude--is one of the things that provoked him to write this in the first place? The New Yorker isn't often this profane nor this angry, you know.
Previously: Theater à la Als
The "Post-Racial" World and Contemporary Playwriting
P.S. Sometime I must write about the playwriting workshop I had with Thomas Bradshaw as one of the perks for winning the Young Playwright's Contest (and if you know Bradshaw's work you know that he is a rather dubious choice to give a writing workshop to 15-to-19-year-olds)... but later, later.