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Alison, Thanks for the links. I was startled to learn that Rinde Eckert was one of the finalists in drama. When I witnessed his early work, the context was theatrical performance art and the notion of him ever being nominated for a Pulitzer never entered my mind. I enjoyed visiting his web site (http://www.rindeeckert.com/) and eventually being led to a sample from "Slow Fire", his collaboration with a musician I've long admired, Paul Dresher, at http://www.dresherensemble.org/recordings/rinderecording.html Nor had I known of his work with Michael Palmer. Reading my earlier post in the archive, I note that the last sentence got cut in half and doesn't make sense, so I'll repost. It did reach my Gmail box intact: "Stephen, I've never had respect for literary prizes but on occasion I enjoy imaginatively reading the scenario of the judges' decision-making process. The power over a lemming-like buying public of the continued repetition of "Pulitzer Prize winning" or "National Book Awardee" by publicists and marketers never fails to amaze. A turning point for me occurred when I received the maximum NEA grant in response to an application identical to one which had been turned down during the previous reading period. Barry" On Wed, 18 Apr 2007 09:32:02 +1000, Alison Croggon <[log in to unmask]> wrote: >You might find this analysis of how the drama prize was awarded interesting >http://playgoer.blogspot.com/2007/04/pulitzer-puttering.html > >and here's a review of the winning play by TONY critic David Cote. It >certainly brought him out in hives >http://www.timeout.com/newyork/Details.do? page=1&xyurl=xyl://TONYWebArticles1/541/theater_broadway/hole_in_none.xml > >All best > >A >-- >Editor, Masthead: http://www.masthead.net.au >Blog: http://theatrenotes.blogspot.com >Home page: http://www.alisoncroggon.com >=========================================================================