Christopher Domig

The Waste Land: A Performance/Installation by Daniel Domig and Christopher Domig

The Waste Land: A Performance/Installation by Daniel Domig and Christopher Domig

It was in the Autumn of 1922 when a 34-year-old English poet published 434 lines of verse in the very first issue of The Criterion—his own quarterly literary magazine whose run ended in the winter of 1939, and which expressed on paper the rich cultural output of the interwar years from Europe’s “Lost Generation” of letters. Criterion’s creator, one Thomas Stearns Eliot, used his publication’s introductory 600 copies to unveil what remains one of the enduring poetic meditations on society in the wake of war: "The Waste Land." From its opening words, “April is the cruelest month,” the power of T. S. Eliot’s much-lauded poem has continued to translate across generations of new readers—taking on new dimensions when it jumps from their inner-voice, to their tongue, and out across a room full of transfixed faces.

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Dirt by Robert Schneider

Dirt by Robert Schneider

On a recent fall evening, I ventured into New York City’s Lower East Side, and trotted up the stoop of the 4th Street Theatre to catch its latest production, Dirt. The one-man show about an Iraqi flower peddler named “Sad” is an entire ocean and language away from its origins in early-‘90s Austria. It’s based in part on stories told to Austrian novelist Robert Schneider by an Iraqi roommate while he lived and worked in Vienna. Coming on the heels of his 1992 book Schlafes Bruder (Brother of Sleep), which was later adapted into the 1995 film of the same name, Dirt was published in Austrian in 1993 as Dreck, and proved a successful foray into theater for Schneider. 

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