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In this controversial and engaging exploration of athletic success and the so-called 10,000-hour rule, David Epstein tackles the great nature vs. nurture debate and traces how far science has come in solving it. Through on-the-ground reporting from below the equator and above the Arctic Circle, revealing conversations with leading scientists and Olympic champions, and interviews with athletes who have rare genetic mutations or physical traits, Epstein forces us to rethink the very nature of athleticism.
Playwright and screenwriter David Epstein presents a trilogy of three plays-Mahalo, Desperados, and Arky-tracing the story of an American family navigating a years-long crisis driven by mental illness. Harrowing, comic, and revealing, The Arky Trilogy movingly captures the twists and turns of life as experienced by one family among millions.
CRITICAL PRAISE FOR THE ARKY TRILOGY
Moving, high-energy dramas of mental health, families, and urgent absurdity.-Publishers Weekly BookLife
The reader will be anxious to one day see one or all of these plays staged in a theater. Until then, these pages provide a suitable window into Arky's Crazyland. A suite of innovative and emotional dramas depicting an embattled family.-Kirkus Reviews
Mahalo is a masterpiece.-Robert Brustein, drama critic, Founding Director of the Yale Repertory Theatre and the American Repertory Company
PRAISE FOR DAVID EPSTEIN'S PREVIOUS WORKS
Wanted
A fine, lovely and lyric madness . . . and at last it restores the art of the musical to the Off-Broadway theatre. . . . It's that rare thing, a show that is as funny as it is provocative. I recommend it wholeheartedly.-Clive Barnes, New York Times
Love at first sight . . . Myth becomes cartoon, cartoon myth . . . Rooty-toot-toot gaiety!-Walter Kerr, New York Times
Rousing Theatre!-Douglas Watt, The Daily News
Exact Change
I haven't laughed so much in a theater all year. With Epstein's blackish sense of humor and wry relish of the odd, his play fizzes with talent.-Benedict Nightingale, The Times of London
Chilling, brilliant . . . dialogue explosions propel the action through the roof.-Irving Wardle, The Independent on Sunday
Palookaville
A sly, loping comedy . . . sweetly ironic with a skewed charm all its own.-Stephen Holden, The New York Times
Terrifically enjoyable . . . with a strong sense of style . . . impressive feature film debut of David Epstein.-Joe Morgenstern, The Wall Street Journal
The Roman Republic was governed by a small group of men who agreed far more than they disagreed on the fundamental questions facing the state. The details of their public behaviour can thus only be understood in relation to the idiosyncrasies deeply embedded in Roman political culture, one of the most important of which was that of personal hatred - 'inimicitia'.
Personal Enmity in Roman Politics, first published in 1987, explores how 'inimicitia' could arise and how it was often central in the formation of political factions. In particular, groups opposing such powerful figures as Pompey and Caesar might be united by nothing more than common hatred of the individual.
An important feature too was the criminal trial, because of the highly personal nature of the Roman adversary system at the time: Epstein argues that personal factors were more important than political ones in the famous trials of the late Republic.
Beyond Orpheus is a study of the elements of musical structure and the ways they provide unity, coherence and uniqueness in classic-romantic music. The book rests in part upon Arnold Schoenberg's concept of Grundgestalt, or Basic Shape, as the singular germinal source from which all aspects of a musical work arise. Though Schoeberg based his philosophy of composition upon this idea, he discussed it explicitly in his writings only minimally. Beyond Orpheus clarifies and illuminates the concept, drawing from the writings of Stoenberg and those of his circle. It traces the development of the concept from the music of Mozart, Haydn, Beethoven, Brahms, and others, through the ultimate extension of certain of its systematic principles in twelve-tone music and total serialism. In the light of this continuous line of thought from the Viennese classics through the present, the question is asked whether aspects of total serialism are themselves found in classical music. In other words, do works of the eighteenth and nineteenth centuries arise from basic shapes that influence their structure not only with regard to thematic unities of pitch and rhythm, but also with regard to harmonies, tonal plans, and secondary qualities of phrasing, inflection, articulations, dynamics, timbres--in short, in their total compositional and structural character? The author concludes that they do, to a much greater degree than is generally recognized. He marshals extensive examples and analyses literature to demonstrate the point. The question of norms arises in this discussion, particularly those standard norms of harmony, tonal plan, metric and rhythmic placement, and conventional formal procedures that largely mold classic-romantic music. The author shows that shapes intrinsic to individual works provide a structural rationale for the seeming anomalies at times found in the musical behavior of these works, for their departure, that is, from the norms of convention, create their own norms and extend them to many parameters: it is these intrinsic norms that provide the unique character of the works, and special bases for their coherence and unity. The author's conclusions are illustrated and illuminated by the numerous excerpts from scores by Haydn, Mozart, Beethoven, Schubert, Schumann, Brahms, Schoenberg, and other composers.
The Roman Republic was governed by a small group of men who agreed far more than they disagreed on the fundamental questions facing the state. The details of their public behaviour can thus only be understood in relation to the idiosyncrasies deeply embedded in Roman political culture, one of the most important of which was that of personal hatred - 'inimicitia'.
Personal Enmity in Roman Politics, first published in 1987, explores how 'inimicitia' could arise and how it was often central in the formation of political factions. In particular, groups opposing such powerful figures as Pompey and Caesar might be united by nothing more than common hatred of the individual.
An important feature too was the criminal trial, because of the highly personal nature of the Roman adversary system at the time: Epstein argues that personal factors were more important than political ones in the famous trials of the late Republic.
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