Contributors

From the LightNewsArchives

As one of its Weekend Illuminations, Lumina-to Arts Festival has treated its audiences to a lecture the likes of which this city is unlikely to see again. Liverpool-born William Patrick “Paddy” Hitler, son of the German Chancel-lor’s half-brother, was in Toronto to share his insights into his uncle’s regime. Rambling and electrifying by turns, Mr. Hitler claimed his uncle intends to make a claim on the Free City of Danzig, and plans to steal all the gold in Luxembourg to fund his munitions plants. It has been learned, by this reporter, that the younger Hitler has attempted to extort money from the Chancellor, and is generally looked upon as a scoundrel on the other side of the pond. Does it run in the family? Only time will tell! Refunds will be honoured at the LAF’s box office on Front Street.

—Staff

Surrendering

As far as I’m concerned, Robert Wilson is one of the greatest geniuses of modern theatre. I first saw his work in Paris in 1973. It was Deaf Man Glance, which was his first major piece. I have memories of that production that I have never forgotten, including one in which a woman rolled out onto the stage but seemed not to roll along the floor; she was on some air cushion that was invisible, and she bounced on it, and came down. The one thing that Wil-son does so extraordinarily—and I look for it in every one of his productions—is lighting. I come from television originally and I know that lighting is everything and I always look for how he is going to light and where the lights are, and he always surprises me. There are moments in The Life and Death of Mari-na Abramovic where people are lit red, green, blue, white—and you know that that spec-trum he has given you is actually the shatter-ing of all light together. To put him together with Marina Abramov-ic is utter genius. She brings to Life and Death a kind of impressive resignation which is totally bemusing to the audience. You see her expression and then you are watching almost through her eyes. She is so receptive, non-judgmental, and also somehow empa-thetic without being sloppy. There was a moment when the soldiers came out with flags and because the flags were white—that is, white for surrender—we were surrendering to life. We are surrender-ing to life with Abramovic and we are surren-dering not only to her life, to which we bear witness, but to our own lives as well. Our rela-tionships with our own mothers, our relation-ships with our own lovers, our relationship to work, to art. I think it was most amazing. And the performances are absolutely won-derful. Willem Dafoe is incredible in this piece. The way in which he energizes the elec-tricity running through the whole work. When he is finally almost buried in the smoke, it’s as if all of that energy goes down again into him and rises up to lift everybody at the end. We have that transformation that we know is going to come, and when it does it is so deep-ly satisfying. Antony’s singing and his music scape for this piece are thrilling moments of sound that penetrate into the movement of one’s blood and brainwaves. It is visceral. Also, Wilson demonstrates what language is through the looping of Dafoe’s speech. It adds to our idea of what language is, critically. When the second act opens and you see that image of the eye, I thought ah! Salvador Dali and Luis Buñuel, Un Chien Andalou—the famous scene where the razor blade cuts across the eye, that moment in cinema that is the most truly surrealistic. You are given that in this piece but instead of the razor blade you have a needle coming down into the iris and the apprehension is so great. This is an absolutely magnificent piece of theatre. To me, it is what theatre should be. Theatre should transform you. It should make you feel that you can’t live any other kind of life.

A PERFORMANCEIN PRINT

Vol 1 / No. 4

HITLER’S NEPHEW A SOLD OUT CURIOSITY AT MASSEY HALL

Comix by Lorenz Peter

lorenzpeter.blogspot.ca

LightNews Vol 1. No 4. LightNews is is an indepen-dent program of Luminato Festival. The views and opinions expressed herein are those of the writers and artists and may not reflect the views and opinions of Luminato Festival or its sponsors. Total accrued sleep over opening weekend of all Luminato staff: 106h,14m, (5.4 hours per staff member).

Miroslav Glavic is a photographer. He has travelled every corner of the world, except Antartica. He currently lives in Scarborough.Inger Ash Wolfe is sleep - deprived. She is the author, most recently, of A Door in the River.Jonathan Castillino & Tom Ryaboi are Toron-to -based photographers.Farzana Doctor is the author of Stealing Nas-reen. She reads at A Literary Picnic on June 22.Don Gillmor’s most recent novel is Mount Pleasant. He reads at A Literary Picnic.Kat Sandler is the artistic director of Theatre Brouhaha. She moderates the “Gob Squad” Lunchtime Illumination at the Hub on June 18The Right Honourable Adrienne Clarkson was Canada’s Governor General from 1999 to 2005.Lisa Moore is the author, most recently, of Caught. She reads at A Literary Picnic.Maggie Thistle is a Luminato internSteve Cohen is known as “The Millionaire’s Magician.” His Chamber Magic show plays June 18-20.Dave Lapp and Lorenz Peter are Toronto cartoonists.Ania Szado’s most recent novel is Studio St. Ex. She reads at A Literary Picnic. Ember Smith is a singer songwriter and is way talentedJorn Weisbrodt is Luminato’s artistic director.For tickets and more information, please visit www.luminatofestival.com

Monday / June 17 / 2013 Toronto, Ontario

EDITOR IN CHIEFMichael Redhill

ASSISTANT EDITOR/INK-STAINED WRETCHNora Fleury

ARTISTIC DIRECTOR, LUMINATO FESTIVALJorn Weisbrodt

PRODUCTION MANAGERDan Daley

DESIGNPentagramDan Daley

Masthead

TH

E EA

VE

SDR

OP

| N

ewsp

aper

boy

: “M

ay I

offe

r you

a c

opy

of L

umin

ato’

s da

ily n

ewsp

aper

? It’s

wri

tten

by

the

artis

ts o

f the

Fes

tiva

l!” P

atro

n: “A

re th

ere

filth

y ca

rtoo

ns in

it?”

— Tom Ryaboi

Adrienne Clarkson writes in to LightNews on Abramovic opening

Artists on a BLIND DATELuminator volunteer, Miroslav Glavic, on love and dancing at the Festival

June 17 1939

CLUE #3 of 8: The key is somewhere within a box of city streets defined by Spadina Avenue, Dundas Street, University Avenue, and King Street.

Find the Golden KeyA golden key is hidden somewhere in down-town Toronto! The person who finds it and brings it to the Information Kiosk in David Pecaut Square wins a pair of tickets to every show at Luminato in 2014.

High over the Hub, J15 / 2013

One of the years I volunteered at Lumina-to, I was answering questions from people at “Light on Your Feet,” a public dance class that took place during the Festival in 2008 and 2009 at Yonge-Dundas Square. A quite elderly couple came up to me and asked me if they needed to get tickets and if yes where did they get them and how much. I told them that they didn’t need tickets as it was free. I explained to them about the different dances being taught each night. Gave them a guide. They thanked me and then they turned around and went into the square. They listened and danced. They seemed to enjoy dancing as they came back every night of the dance lessons. At the end of the first night they thanked me. On the last night I said to them that they must enjoy dancing, since they’d come every night. They said very much. I asked them how many years they’d been dancing. They said it was more than double the years I have been alive. (I am 32.) The man told me that their coming back each night was a birthday gift to each other, as they had recently each turned 100 years old. The man said that he was still as in love with the woman as he was in highschool. They looked at each other. He said he was still happy that she said yes to him when he proposed all that time ago. He got on his knee right there in front of me and proposed to her again, to renew their marriage. The dancing had brought their feelings of love back. She said yes. Each night when they came, they would make small conversation with me before and after the dance. I have no idea why they picked me instead of another Luminato vol-unteer or staff. Some time the following year or so, I was doing my grocery shopping and I was in line at the cashier. Behind me, an elderly woman was standing with a man and she asked me if I had been at Luminato Festival in Yonge-Dun-das Square. I said I was, I’d volunteered for the Festival. She said that she and the man beside her were the ones from the dances I’d spoken with. They thanked me, I smiled and said you are welcome. We made some chit chat until my turn came to pay for my grocer-ies. I paid and I mentioned to them that Lumi-nato is yearly festival. I thanked them for the memories, then I said goodbye. I haven’t seen them since that time. What made me think about them is that they broke every myth/stereotype/whatever you call it about people their age. They cer-tainly danced better than I could have and they were some of the best dancers each night. There was something about them coming all those days in a row, at their age, both loving each other, and showing that love through dancing.

Luminato Festival’s first weekend saw huge crowds descend on the two main public spac-es of the Festival, the Hub at David Pecaut Square, and the Distillery. The weather co-operated on Saturday, but changed its mind on Sunday when driving rain began in the morning. This reporter saw diehard joggers along the Rosedale Valley Road braving the torrential weather just after dawn Sunday and wondered if they would come to brave Laurie Anderson and Ai Weiwei under such skies. Luckily, the weather improved. Saturday saw a crush of Luminato-goers packing David Pecaut Square for a roster of concerts and activities that included Ember Smith, Sarah Harmer, Long Shen Dao, and Maxi Priest give a series of free concerts on the main stage. At almost midnight, Kid Ko-ala took to the stage under a perfect night sky, the mirrored facets of Michel de Broin’s One Thousand Speculations throwing a cool, silvery light against the towers enclosing the Hub, and set the place on its ear. Space Cadet—Kid Koala’s interstellar op-era, sit-in movie, talk show, and scratch rock party—had hundreds of lucky ticket-holders reclining against inflated pillars lying along the grass, with their headphones on. On-lookers witnessed a genuinely surreal sight: a silent concert broken only by the sound of applause. Koala put on his trademark fur-ry costume halfway through the evening, explaining that the koala suit is a result of a losing bet that saw the groundbreaking Mon-treal-based DJ and comic artist agreeing to wear the costume for one hundred public ap-pearances. Over at the Distillery, the public encoun-tered a busy hive of cooking activity, as grade 4-6 students showed what they’d learned from some of the city’s best chefs in the Fu-ture Tastes of Toronto event. Every alley and roadway was bursting with tents and scents. Kids worked seamlessly in teams with some of the city’s best chefs, preparing classic dish-es like mussels in white wine and soft rice and pork tacos drizzled with fresh salsa. To the sounds of chants and excited voices blaring out of megaphones, the public ate it all up.

—Staff

HUBBUB AT THE HUB, DISTILLERY

Pro & Con

I am an early riser. Not by choice and not al-ways happily—I don’t wake up like the Von Trapp family singing in the hills. But most mornings at around 5:00 a.m. I wake up and am incapable of getting back to sleep. In the summer, I often go up to my office and get an early start on things. In winter, my office is too cold and forbidding and I walk to the yoga studio and get some narcoleptic exercise. The payoff is walking back at 7:45, drinking a dou-ble expresso, brimming with calm. I feel like Gandhi. One of the subtle joys of being awake early is that you have the world to yourself, more or less. There are dog walkers out in the park, sil-houetted in the gloom. There is the guy who delivers the paper. But otherwise, the streets are empty, the houses dark. I am the only one getting any work done. When I actually get any work done.

— Don Gillmor

The difference between starting early or sleeping in pivots on humankind’s worst in-vention: the alarm clock. I cannot start early without one. An alarm clock makes for a terrible start. It doesn’t matter that my iPhone alarm is “Feel-ing Good” by Nina Simone. When I awake, disoriented, snatched from a lovely dream state and in the wrong part of my sleep cycle, I can only assume that Nina is taunting me with her dragonflies and butterflies all havin’ fun. If starting early is all about the jarring kick-start to the day, then sleeping in all about the slow beginning. It’s in these first quiet mo-ments of consciousness when sweet things happen: I listen for writing inspiration, I sense my lover lying beside me, I stretch into the fullness and boundaries of my body. The day can wait until I’ve done all that. — Farzana Doctor

Waking Up: a User’s Guide, by Don Gillmor and Farzana Doctor

Great brainstorming session tonight with Erik on We Are The Bomb (a site-specific Fringe Festival play set in a bar, about a group of young people who, on the eve of modern Canadian prohibition, establish their own country). Although the play began as a jaunty situational comedy, it has now spiralled out of

my control into an all-encompassing political play with big themes and ideas and messages. This terrifies me, because I know absolutely nothing about politics. Erik,―who knows lots about politics,―and I sat in the bar for five hours, drinking beer and viciously arguing to get our points across. The script breakthrough fell into our laps practically as we said good-bye. I am a good writer, but I know a play isn’t working until I feel a “click,” and frank-ly, I don’t enjoy writing it until then. I feel so blessed to have friends and colleagues who are always willing to help me find that click, that piece of the puzzle, or the look or word or anecdote that takes a play from words to entertainment. I left the bar, excited about sitting down to write again, so happy to be in this crazy business in which a night of work is sharing a drink (or four) with a friend. Erik stayed behind, ordered another round, and started his own writing project. Who knows what time he got home.

Dear: DiaryKat Sandler behind her own scenes

May 16, 2013. 12:45 AM

Time Event LocationAllDay LuminatoPortraits:AnArtFestivalHub on the Move Project10AM DollsbyViktor&RolfThorsellSpiritHouse11AM Stockpile AllenLambertGalleriaNoon LunchtimeIllumination:FestivalHub Nicholas Jennings, Murray McLauchlan&SylviaTysonNoon MAI—PrototypeTrinityBellwoodsPark 66PM EveningIllumination:VerdiTIFFBellLightbox vs.Wagner:ALoveStory?7PM ChamberMagicGeorgeBrownHouse7:30PM TheLifeandDeathBlumaAppelTheatre ofMarinaAbramovic8PM TheCoreyHarrisBand,FestivalHub CarolinaChocolateDrops9:30PM ChamberMagicGeorgeBrownHouse 179:30PM TheDaisyTheatreBerkeleyStreetTheatre 911:30PM TheCourtyardRevueBerkeleyStreetTheatre 10

It’s

hard

to k

now

wha

t to

call

Eric

San

, aka

Kid

Koa

la—

the

Can

adia

n sc

ratc

h D

J, m

usic

pro

duce

r, an

d co

mic

bo

ok a

rtis

t—bu

t re

nais

sanc

e m

an m

ight

be

clos

e. I

w

as a

t the

sec

ond

of th

e K

id’s

two

sold

-out

Spa

ce C

a-de

t sho

ws l

ast n

ight

, and

I ex

perie

nced

som

ethi

ng th

at

mig

ht b

e lik

e w

hat t

he fi

rst t

hera

min

aud

ienc

es o

r the

fir

st v

iew

ers o

f the

Impr

essi

onis

ts m

ight

hav

e fe

lt: a

we,

di

spla

cem

ent,

and

deep

ple

asur

e. (O

kay,

may

be n

ot th

e th

eram

in a

udie

nce.

)

“Th

e ne

w”

is a

n id

ea s

o ov

erw

orke

d an

d ja

ded

in

the

top-

spee

d In

tern

et a

ge th

at p

eopl

e ca

n be

forg

iven

fo

r rea

lly b

elie

ving

ther

e is

not

hing

new

und

er th

e su

n,

but a

t lea

st th

ere

was

som

ethi

ng n

ew u

nder

a m

irror

ball

last

nig

ht in

the

Hub

, as

abou

t five

hun

dred

peo

ple

lay

dow

n ag

ains

t spa

ceag

e in

flata

ble

pillo

ws

and

stra

pped

on

Sen

nhei

ser h

eadp

hone

s to

be le

ad d

own

Kid

Koa

la’s

very

spec

ial g

arde

n pa

th. T

he co

ncer

t beg

an w

ith a

new

tu

ne, f

eatu

ring

Dan

the

Auto

mat

or a

nd D

amon

Alb

arn,

w

hich

set

the

stag

e fo

r alm

ost t

wo

hour

s of

min

d-bo

g-gl

ing

crea

tivity

.

Th

e th

ree

over

size

d sc

reen

s ons

tage

dur

ing

the

first

nu

mbe

r di

spla

yed

the

asto

nish

ing

sigh

t of K

id K

oala

’s fo

rear

ms

and

hand

s fly

ing

over

thre

e tu

rnta

bles

and

a

mix

ing

boar

d. T

he s

peed

, dex

terit

y, a

nd s

heer

inve

n-tiv

enes

s of h

is m

ixin

g an

d sc

ratc

hing

was

inst

ant p

roof

th

at th

is k

ind

of m

usic

is n

ot th

e lo

ve-c

hild

of t

echn

ol-

ogy

and

extr

eme

spor

t, bu

t an

artf

orm

in a

nd o

f its

elf.

Lilli

an C

han

prov

ided

del

icat

e an

imat

ions

fro

m t

he

Spac

e C

adet

gra

phic

nov

el, w

hich

pla

yed

behi

nd t

he

com

plic

ated

set-

up a

s vis

ual l

ulla

bies

.

Today @ Luminato Festival

Adrienne Clarkson on The Life and Death of Marina Abramovic

Don Gillmor and Farzana Doctor try to shake each other awake

A review of Space Cadet

The fourth installment of Spovator Flencendar

The Millionaire’s Magician, Steve Cohen, is interrogated

Lisa Moore on her preparations for a reading

… and much more

In This Issue

On the QTLaurie Anderson whispered into my ear that apparently Ai Weiwei had sleepless nights about his first-ever live streaming rap perfor-mance with New York’s queen of the avant garde. Well, I don’t necessarily have sleepless nights, but sleep deprived ones, certainly, so I know how you must be feeling buddy, but you did a great job. It was a pity that we could not send him a virtual oyster or those lobster sticks from the Shore Club afterparty last night which was packed and buzzing. One of Ronnie Burkett’s marionettes ap-parently hit puberty last night at The Daisy Theatre at Berkeley Street and was partic-ularly mean and nasty to all the adults on scene. Afterwards, Vag Halen were rocking out so hard at Jason Collett’s Courtyard Re-vue at 11.30 p.m. (at the same venue) that one might think puberty should be an eternal hu-man condition. Joni Mitchell in her TimesTalks with Bri-an Blade and Jon Pareles proved that artistic minds can stay young eternally. Tonight’s the last night of The Life and Death of Mari-na Abramovic and even though the dogs and the albino python snake have become close, I know that Marina is quite jealous that the one albino doberman was actually allowed to go to the hairdresser to get a his fur dyed black and might be plotting something. — Jorn Weisbrodt, Artistic Director

From Jorn Weisbrodt

Revi

ew

Ove

r the

cour

se o

f the

conc

ert,

Kid

Koa

la d

rew

mem

-be

rs o

f th

e au

dien

ce, i

nclu

ding

chi

ldre

n, in

to t

he im

-pr

ovis

atio

nal c

reat

ion

of li

ve m

usic

. Gue

sts b

roug

ht d

i-re

ctly

ons

tage

yak

ked

with

the

artis

t bet

wee

n nu

mbe

rs,

and

in o

ne c

ase

wer

e gi

ven

light

-stic

ks a

nd o

ther

illu

-m

inat

ed o

bjec

ts to

cre

ate

a liv

e co

mpu

ter-

assi

sted

ligh

t sh

ow th

at w

as th

row

n in

stan

tane

ousl

y ov

er th

e sc

reen

s.

In w

hat w

as p

erha

ps th

e ev

enin

g’s

mos

t bea

utifu

l and

m

ovin

g m

omen

t Kid

Koa

la p

laye

d w

hat h

e to

ld u

s w

as

his

mot

her’s

favo

urite

pie

ce o

f his

. It t

urne

d ou

t to

be

a co

smic

rend

erin

g of

“M

oon

Riv

er”

play

ed o

ff an

old

LP

and

mix

ed d

irect

ly th

roug

h hi

s mas

sive

boa

rd. O

ver

seve

n m

inut

es, K

oala

tran

sfor

med

the

clas

sic

song

into

to

ne p

oem

that

surg

ed w

ith lo

ngin

g an

d lo

ve. I

imag

ine

Mot

her K

oala

is v

ery

prou

d of

her

son.

Del

ight

is p

roba

-bl

y th

e be

tter w

ord

to d

escr

ibe

the

audi

ence

’s re

actio

n.

We

rose

to o

ur fe

et a

t exa

ctly

1 a

.m. w

hen

the

conc

ert

ende

d—to

the s

ound

s of e

lect

roni

c bel

ls—

and

pulle

d off

ou

r hea

dpho

nes t

o se

nd K

id K

oala

and

his

bril

liant

crew

off

to th

unde

rous

app

laus

e. T

hat w

as th

e fir

st a

udib

le

evid

ence

that

any

one

had

been

in th

e H

ub to

that

hou

r, un

derg

oing

a tr

ansf

orm

ativ

e m

usic

al a

nd v

isua

l exp

e-rie

nce.

Sp

ac

e C

ad

et

vie

we

d f

rom

th

e t

op

of

214

Kin

g S

t W

es

t, 1

2:4

0A

M /

J16

/ 2

013

SCEN

E &

HER

D

THE TWEETS OF EMILY DICKENSON | “Why do I love” You, Art? Because—The Wind does not require the Mirrorglass to answer—Wherefore when He pass too fierce, it cannot rise over the Hub.

PRESENTED BYTHE LUMINATO FESTIVAL

Da

ve

La

pp

A JOKE | Know how to prevent sagging? Just eat till the wrinkles fill out. —Robert Wilson

—Jo

na

tha

n C

as

tilli

no

Squa

re O

neB

y A

nia

Sza

do

“I h

aven

’t ev

en b

roug

ht a

boo

k.”

The

open

ing

sent

ence

of

Stu

dio

Sain

t-Ex

cam

e la

te, b

ut f

elt

imm

edia

tely

rig

ht. S

ome-

one

bem

oani

ng t

he la

ck o

f a

book

typ

ical

ly,

unex

pect

edly

, has

tim

e to

kill

, as d

oes t

his n

ar-

rato

r. A

nd th

at w

ord

“eve

n”? S

he’s

exas

pera

ted

with

her

self;

she

’s ca

pabl

e of

bei

ng s

elf-

criti

-ca

l—im

port

ant f

or re

ader

s to

know

, sin

ce sh

e’s

pois

ed t

o te

ll a

stor

y ab

out

her

youn

ger

self.

Th

e sp

ine

of th

at s

tory

invo

lves

the

writ

ing

of

The

Littl

e Pr

ince

, so

star

ting

with

a n

od to

the

impo

rtan

ce o

f boo

ks fe

lt ap

t—an

d iro

nic,

sinc

e sh

e al

way

s car

ries t

hat b

ook,

as a

mem

ory.

To b

e c

on

tin

ue

d..

.

Spee

d In

terv

iew

Bef

ore

& A

fter

Ing

er

As

h W

olf

e g

oe

s t

o s

cra

tch

he

av

en

a

t S

pa

ce

Ca

de

t

FACES OF LUM

INATO

MIT

ICHELLJONI

Reve

rse

Prou

stQ

uest

ionn

aire

1 | B

lack

pum

ps. W

hat a

re s

exy,

rel

iabl

e, a

nd

alw

ays r

eady

to b

e w

alke

d al

l ove

r?2

| Qua

ntum

phy

sics

. Wha

t is

Step

hen

Haw

k-in

g’s i

dea

of li

ght r

eadi

ng?

3 | R

oot c

anal

. Wha

t is

prob

ably

the

last

thin

g th

at s

houl

d ev

er b

e at

tem

pted

as

a D

IY p

roj-

ect?

4 | C

avia

r in

Cle

vela

nd. W

hat i

s the

wor

st p

rom

th

eme

sugg

estio

n ev

er?

5 | M

y ce

llpho

ne. W

hat i

s one

of t

he fe

w th

ings

in

my

life

curr

ently

on

a pl

an?

6 | A

s of

ten

as p

ossi

ble.

Wha

t is

the

amou

nt

of ti

mes

Sei

nfel

d is

quo

ted

daily

in m

y ho

use-

hold

?7

| My

gran

dmot

her’s

(Nan

a’s)

coo

king

. Wha

t ki

nd o

f cui

sine

con

sist

s, in

its e

ntire

ty, o

f pie

r-og

is, a

dis

h kn

own

fam

iliar

ly (

and

ques

tion-

ably

) as “

polis

h bu

rger

s” an

d to

aste

d ry

e bre

ad

dous

ed h

eavy

-han

dedl

y in

gar

lic p

owde

r?

8 | T

urki

sh c

offee

. Wha

t is

the

last

thin

g yo

u fa

ntas

ized

abo

ut?

9 | M

an’s

best

frie

nd. W

ho is

con

sist

ently

al-

low

ed to

slee

p in

my

bed

desp

ite th

eir t

ende

n-cy

to u

se m

y ca

rpet

as a

toile

t?10

| C

athe

rine

Zeta

Jone

s. W

ho is

the

sexi

est

cele

brity

offi

cial

ly d

iagn

osed

with

bip

olar

dis

-or

der?

11

| N

ever

in le

otar

ds. W

hat i

s one

way

a m

uti-

ny sh

ould

nev

er b

e at

tem

pted

?12

| R

icks

haw

s. W

hat

was

onc

e de

scrib

ed b

y N

ewm

an a

s ha

ving

“th

e ro

man

ce o

f the

han

-so

m c

ab w

ithou

t th

e gu

ilt o

r da

nder

of

the

equi

ne”?

13 | R

ob F

ord’

s fee

t. W

hat i

s the

onl

y pa

rt o

f the

To

ront

o M

ayor

with

any

type

of s

ole?

14 |

A d

ozen

boa

con

stric

tors

. Wha

t mak

es a

be

tter p

air o

f boo

ts th

an h

ouse

gues

ts?

15 |

Onl

y in

the

dark

. Whe

re is

the

only

pla

ce I

look

as g

ood

as I

feel

whe

n I’m

dan

cing

?16

| U

nscr

upul

ous.

Wha

t is

my

caffe

ine

con-

sum

ptio

n w

hen

I am

wor

king

tow

ards

a d

ead-

line?

17 | M

y ank

les.

Wha

t is s

omet

hing

that

I se

e ev-

ery

day

but r

arel

y ac

tual

ly th

ink

abou

t?

18 |

The

laun

drom

at. W

here

is th

e la

st p

lace

I lo

st a

pai

r of u

nder

wea

r?19

| O

bliv

ion.

Whe

re s

houl

d ev

eryo

ne v

isit,

on

ce in

a w

hile

? 20

| Sh

ark

atta

cks.

Wha

t are

less

pai

nful

than

m

ost w

ork

or sc

hool

inte

rvie

ws I

’ve

had

to d

o?

Lu

min

ato

In

tern

Ma

gg

ie T

his

tle

’s

rule

s o

f m

uti

ny

Ten

min

ute

s,

up

to

fif

ty q

ue

sti

on

s.

A s

ele

cti

on

fro

m S

tev

e C

oh

en

1 | W

hat i

s the

last

boo

k yo

u di

dn’t

finis

h?

Thin

king

Fas

t and

Slo

w2 |

Eas

tern

or W

este

rn p

hilo

soph

y? E

aste

rn.

I use

d to

live

in Ja

pan.

3 | W

ho w

ould

pla

y yo

u in

the

mov

ie o

f you

r life

? I’v

e be

en c

alle

d th

e lo

ve-c

hild

of W

oody

Alle

n an

d C

harli

e C

hapl

in.

4 | W

hat w

as th

e fir

st co

ncer

t you

atte

nded

? Bi

lly Jo

el5

| Wha

t w

as y

our

favo

urite

chi

ldho

od b

ook?

Th

e Ta

nnen

’s M

agic

Cat

alog

ue #

126

| Wha

t do

you

wea

r to

bed?

T-s

hirt

and

shor

ts7

| Sho

uld

you

have

eve

r bee

n ar

rest

ed fo

r an

ythi

ng? N

o, b

ecau

se I’

m a

n ea

gle

scou

t.8

| Wha

t wou

ld b

e yo

ur la

st m

eal?

Sus

hi p

latte

r in

the

Gin

za in

Tok

yo.

9 | O

n da

nce:

bal

lroom

, bal

let,

or m

oder

n?

Balle

t. I g

ot to

the

balle

t ofte

n.10

| You

r fav

orite

com

edia

n of

all

time?

Ro

bin

Will

iam

s11

| W

hat

was

you

r ni

ckna

me

in h

igh

scho

ol?

Stev

er12

| D

o yo

u do

any

par

ty tr

icks

? My

who

le li

fe is

fu

ll of

them

.13

| Wha

t his

toric

al fi

gure

wou

ld yo

u lik

e to

hav

e di

nner

with

? Joh

ann

Hof

zins

er14

| Wha

t’s yo

ur id

ea o

f a p

erfe

ct S

atur

day n

ight

? I p

erfo

rm e

very

Sat

urda

y ni

ght.

15 |

Whe

re w

ould

you

like

to g

o on

a s

hopp

ing

spre

e? P

aul S

tuar

t in

New

Yor

k C

ity.

16 |

If y

ou h

adn’

t bec

ome

a m

agic

ian,

wha

t do

you

thin

k yo

u’d

be r

ight

now

? A

phys

icis

t. O

n on

e si

de y

ou tr

y to

ben

d th

e la

ws o

f the

un

iver

se, o

n th

e ot

her y

ou tr

y to

dis

cove

r the

m.

17 | W

hat d

on’t

you

get a

t all?

Th

e te

enag

e m

ind

18 | C

offee

or t

ea? C

offee

19 |

Milk

cho

cola

te o

r da

rk?

Milk

cho

cola

te a

t m

idni

ght a

nd d

ark

choc

olat

e w

hen

I’m

thin

king

abo

ut m

y he

alth

.20

| In

one

wor

d: th

e m

eani

ng o

f life

is …

Wel

l, m

y so

n’s

answ

er—

he’s

13 y

ears

old

—is

ice

cr

eam

. My

answ

er is

crea

tivity

.

Lis

a M

oo

re b

om

bs

he

ll; w

rite

r s

urv

ive

s

rea

din

gs

na

rro

wly

Ever

yday

Her

oes

Befo

re:

I am

dea

f to

eve

ryth

ing

exce

pt t

he

soun

d of

my

own

bloo

d.

It so

unds

like

a p

illow

figh

t.

I

feel

a tu

rbo-

sink

ing

of e

very

thin

g I

am,

a si

nkin

g fr

om th

e to

p of

my

head

dow

n in

to

my

knee

soc

ks. S

ocks

with

bro

ken

elas

tics

so

they

yaw

n ar

ound

my

ankl

es li

ke w

hen

I was

in

gra

de fo

ur.

I am

afr

aid

I will

trip

on

the

way

to th

e m

i-cr

opho

ne (t

his h

appe

ned

once

, me

yelli

ng m

y he

ad o

ff an

d w

ind-

mill

ing

my

arm

s, n

early

fa

lling

all

the

way

off

the

stag

e).

I

rem

ind

mys

elf t

hat i

f one

thin

ks b

ack

to

the

time

of th

e di

nosa

urs,

and

then

in th

e ot

h-er

dire

ctio

n, to

war

d in

finity

, thi

s m

omen

t on

stag

e w

ill o

nly

be a

mill

isec

ond

in th

e hi

stor

y of

bei

ng.

Aft

er: O

h, it

is s

o go

od to

list

en to

the

oth

er

read

ers.

It i

s suc

h a

deep

, dee

p pl

easu

re to

sit

in t

he a

udie

nce

afte

r I’m

don

e an

d lis

ten

to

thei

r sto

ries.

Th

e o

ne

wh

o s

we

lls E

mb

er

Sm

ith

’s h

ea

rt

She

used

to

drag

her

mom

to

ever

y sh

ow w

e ha

d in

the

Chi

cago

are

a fr

om a

ge s

ix t

o ni

ne.

Gin

ger-

haire

d Ja

ney

intr

oduc

ed h

er m

om t

o in

depe

nden

t mus

ic a

nd m

ade

me

flow

ers

from

co

nstr

uctio

n pa

per

with

littl

e no

tes

writ

ten

on

the

insi

de o

f th

e pe

tals

. A

fter

one

sho

w,

she

proc

laim

ed h

er fu

ture

pro

fess

ion

as a

poe

t. Sh

e m

ade

my

hear

t sw

ell.

Kid

s ar

e so

muc

h m

ore

hero

ic th

an th

ey’ll

eve

r kno

w.

Ato

m E

go

ya

n in

co

nv

ers

ati

on

wit

h D

an

iel J

. W

ak

in