My man is far more absurdist than I had initially recalled.

His works often explore the fringes of human experience and the absurdity that lies within our daily lives.

Among them, I believe his least known play, "Curse of the Starving Class," actually holds up extremely well over time and can be considered his best.

This play delves deep into the struggles and dysfunctions of a working-class family, highlighting the absurdity of their circumstances and the lengths they go to in order to survive.

It is a powerful and thought-provoking piece that showcases his unique talent for creating complex and engaging characters in the most unlikely of situations.

Despite its relative obscurity, "Curse of the Starving Class" has the potential to resonate with audiences on a profound level, making it a hidden gem in his body of work.

As time passes, its significance only seems to grow, solidifying its place as one of his greatest achievements.

I read this on my brother's suggestion. He told me that I should read True West and Buried Child. I originally intended to read all of them. However, I quickly got bogged down. I realized that I had a strong distaste for Shephard's negative world view. He also has an absolute fascination with the idea of people talking without communicating, existing in parallel tracks that never intersect.

This was well displayed in his beautifully crafted plays. But one play was enough to get his point. Two plays were enough to see that it was his real fascination. And starting the third play was enough to see that I really didn't want any more of it.

I understand that different people have different preferences when it comes to literature. Maybe my brother saw something in Shephard's works that I didn't. But for me, his negative world view and the idea of people not truly communicating just didn't resonate. I prefer works that offer a more positive or at least a more balanced perspective on life.

Nevertheless, I'm glad I gave Shephard's plays a try. It was an interesting experience and it made me realize more about my own literary tastes. I'll continue to explore different authors and works in the future, hoping to find those that truly speak to me.

I have to say Shepard might be one of my biggest inspirations, even though he isn't necessarily my favorite.

There's something truly liberating about delving into the works of a playwright as diverse as Shepard in terms of narrative. His plays vary not only in structure but also in tone, staging, and concept.

"Buried Child" and "True West" read like straightforward high school English class readings, yet with a hint of strangeness.

And then there's "Tooth of the Crime," which makes you wonder, "What on earth is happening?"

And when you get to "Tongues" and "Savage/Love," it's completely mind-boggling.

Despite the confusion and the unconventional nature of his works, I have a great deal of love for his writing. It challenges the reader, makes you think, and forces you to step out of your comfort zone.

Shepard's plays are a testament to the power of creativity and the beauty of taking risks in art.

The quality of the work shows a linear decline, which is rather disappointing.

However, there is a glimmer of hope in the form of a stunning finale in "Savage Love".

This unexpected turn of events manages to salvage some of the overall experience.

The build-up to the finale is filled with anticipation, as the story seems to be losing its momentum.

But then, in a brilliant stroke, the creators bring it all together in a way that leaves the audience breathless.

The stunning visuals and powerful performances in the finale make it a memorable moment.

Despite the linear decline in quality throughout most of the work, the finale in "Savage Love" is a testament to the potential that still exists.

It gives hope that future installments or similar works may be able to maintain a higher level of quality from start to finish.

Overall, while the linear decline is a drawback, the stunning finale in "Savage Love" offers a glimmer of promise for the future.

Most of these plays have NOT aged well.

Even the so-called prize-winning one here, True West, when read, it seems to be somewhat inferior to Mamet's works.

Buried Child won a Pulitzer, yet I found it to be terribly overwrought and clunky.

At least one of these plays, The Tooth of Crime, was almost completely unreadable. It's a rather strange rock and roll musical set in an apocalyptic future, with characters named Hoss and Crow. Wowsa!

It's possible that Shepard is a hero of American theater that I have just not yet appreciated. I would still like to give Fool for Love a try and read it. However, based on this selection that I have just gone through, I don't think Shepard and I are ever going to see eye to eye or really get on well in terms of our understanding and appreciation of his plays.

Maybe there are some hidden gems in his works that I have not discovered yet, but for now, these initial impressions have left me a bit disappointed.

Over the years, I have done a fair amount of reading. Recently, I read "La Turista" in preparation for a Sam Shepard production. While it does have its interesting moments, it's not my favorite work by Shepard.

"Buried Child," on the other hand, is truly a masterpiece. The depth and complexity of the story, along with the powerful characters, make it a remarkable piece of theater.

Another outstanding work is "Curse," which is simply incredible. The way Shepard weaves together the elements of the story creates a captivating and unforgettable experience.

"True West" is also a significant work, often considered the "mainstream" masterwork. It explores themes of family, identity, and the American dream in a way that is both engaging and thought-provoking.

In conclusion, while "La Turista" has its merits, it is the other works of Sam Shepard, such as "Buried Child," "Curse," and "True West," that truly stand out as masterpieces of modern theater.

I haven't read "The Tooth Of Crime", or the short plays "La Turista" and "Tongues".

These works might offer unique perspectives and stories that I'm yet to discover. It's a pity that I haven't delved into them as of now.

Maybe in the future, I'll have the opportunity to pick up these plays and explore the worlds they create.

I wonder what kind of characters, conflicts, and themes are present in them.

Will they make me think deeply, evoke strong emotions, or simply entertain me?

Until then, I can only imagine the possibilities and look forward to the day when I can experience these works for myself.

As the book that served as the catalyst for my Master's thesis, this collection holds a truly special position on my bookshelf.

It is neatly nestled in among other remarkable Shepard plays, as well as numerous books penned by Joseph Campbell, Richard Slotkin, and Frederick Jackson Turner.

The exploration of the mythology of the American West through the pages of this collection was an utterly fascinating experience.

Shepard's mastery of his craft is evident throughout, as he weaves together stories and characters that bring this rich and complex mythology to life.

Each page seems to transport the reader to a different time and place, filled with adventure, mystery, and a sense of the unknown.

This collection has not only informed my academic work but has also left a lasting impression on my personal understanding and appreciation of the American West and its mythology.

It is a treasure trove of literary gems that I will continue to return to again and again.

Buried Child is a play that will truly have a profound impact on you. It's not difficult to understand why it was awarded the Pulitzer Prize. The story unfolds in a way that as the characters gradually come apart, the plot weaves together more tightly. It is brutally honest yet savagely funny, and its final moment is simply breathtaking.

Everything that follows this play, while brilliant in its own right, still pales in comparison to Buried Child. Curse of the Starving Class and True West are both wickedly humorous and stayed with me for days after I finished reading them. The Tooth of Crime, although it suffers from not having an accompanying audio track of its music, is still a prime example of Experimental Theatre at its best.

So, why did I give it five stars? The answer is simple. I already have the urge to read it again, to meticulously dissect each play and try to understand the inner workings of Shepard's mind. His plays are like complex puzzles that beg to be solved, and I can't wait to embark on that journey again.

I've read two out of the seven plays so far. What I've discovered is that I seldom laugh out loud when reading alone. However, both of these plays had me in stitches. True West appears to shine with originality, which I truly admire. (Apparently, John Malkovich played the role of Lee in the Broadway premier.) On the other hand, Buried Child was not as spectacular a play overall, but it did have a few golden moments within it.

These two plays have provided me with different experiences. True West's unique charm lies in its original storyline and characters, which keep me engaged from start to finish. The way the plot unfolds and the relationships between the characters develop are both fascinating.

Although Buried Child may not have the same level of overall brilliance as True West, those few golden moments are enough to make it memorable. They add depth and complexity to the play, and make me think about the themes and ideas it presents.

I'm looking forward to reading the remaining five plays and seeing what other surprises and delights they have in store for me.

These plays were, um, truly a conundrum for me. I don't even know how to best describe them. Because when I'd finished reading them, I was left completely unsure of Shepard's true intent.

Take "Buried Child" for example. It was just completely uncomfortable and depressing. I can understand that there was an attempt to offer a commentary on various aspects such as frustrations with the American dream, disillusionment, and the complex dynamics of a fractured family. But the way it was presented, he didn't manage to sell it in any form that was engaging or even remotely entertaining.

Yet, surprisingly, this very play won a Pulitzer. So, really, what do I know? Maybe I'm just not seeing the deeper meaning or the brilliance that others seem to have recognized. But from my perspective, it was a rather underwhelming experience. :)

This is an extremely large collection of works that encompasses a wide range of themes and styles.

It varies from traditional stories depicting the harsh life in middle America, to an alternate rock-n-roll universe filled with gang warfare, and even to highly experimental poetry and sound performances.

Given the diversity, rather than attempting to summarize it all together, I wrote individual reviews for each piece as I was reading them.

True West kicks off the collection with a powerful play. I don't recall ever reading something that so immediately and precisely matched the vibe I was seeking in a story. I'm truly glad it was chosen to be the first. The dialogue is sharp, the characters' motivations are clear and intense, and there's an inevitability to the plot's direction that is both fun and tragic to follow. If I have one criticism, the ending does seem a bit too ambiguous, and I would likely prefer a more conclusive wrap-up. Nevertheless, I absolutely adored this play and would love to see it performed live. 9/10

Buried Child, strangely, wasn't as dark as I expected. With a title like that, one might assume it would be edgier. However, Sam Shepard employs one of my favorite tropes in this play, where the characters refuse to address the elephant in the room and instead pretend it doesn't exist. It's one of those great shows about "the worst people you know pretending they aren't." There are so many striking visuals and insane moments that you almost certainly haven't seen in a play before. And that ending? It's chilling and simply fantastic. 10/10

Curse Of The Starving Class felt like a bit of a step down from the previous two, but it was still an enjoyable read. Among the Shepard plays I've read so far, this one feels the grittiest and most pessimistic. My interpretation is that it's about how people are unable or unwilling to break the cycle of violence in their lives and are doomed to become like those who raised them. Even the characters' names mirror this, such as Weston and his son Wesley, and Ella and her daughter Emma. Despite fighting against it, it seems inevitable. It's a great and interesting show, but it lacks the momentum of some of his other works. 7/10

The Tooth Of Crime is completely unhinged. I've heard of Cyber-punk and Steam-punk, but never Rock-punk before. This show is so out there that it has to be Sam's favorite. The dialogue is so deeply rooted in its strange rock-world vernacular that I didn't understand what people were saying 70% of the time. I did enjoy the names, though (Hoss, Galactic Jack, Starman, Crow), but apparently many of these names were changed in later editions. Why? It seems like the best part of the show. Other changes in later editions do make sense, like the removal of the greater ensemble dressed as cheerleaders mooning the audience. Its peculiarity might grow on me over time, but for now, it ranks very low for me in the Shepardverse. 3/10

La Turista was really difficult to follow. The characters, the "plot", the dialogue - all of it. It's hard to see what Shepard was aiming for with this one. It feels like an angry show, as if he wanted to create a unique theater experience but couldn't find a way to do it without deconstructing the very idea of a play. I assume there's a lot I'm missing, but I also think Shepard isn't a coward and didn't want to get comfortable writing only his middle-class America shows. He wanted to keep experimenting with a million things. And to be fair, you don't create culture-changing works of art without first throwing out the rulebook. So, is this good? Did I like it? No and no. But I do have some respect for the intention and a couple of moments of dialogue. 2/10

Tongues is a strange addition to this book. I wouldn't so much call it a play as a lengthy poem. Which is fine, but there's rhythmic underscoring that is essential to the work as a whole (it's actually written into the script as it should be performed). I couldn't get into it until I started reading it out loud and following the stage directions on how it should be said. Once again, it's highly experimental, but I found it much more coherent than La Turista. It's weird in a good way, but there are sections that I felt didn't match the tone of the others, so it didn't blow me away or anything. Still, it was a fun read and had some strong emotions. 4/10

Savage/Love is the opposite of Tongues. I don't actually understand how you would perform this one. Tongues is like a long poem, but this is literally a collection of poems with names and everything. There's hardly any stage direction and no characters written in. That said, I thought this was okay as a collection. It aims to write about the unspoken moments in relationships, and I think it does a nice job of that. However, there are a couple of poems that feel a bit silly, which is odd. Why include a comedy palate cleanser in a 15-page collection? I liked some of it, but didn't love it. 3/10

As much as over half of the plays didn't resonate with me, I'm still very happy with this collection. It has introduced me to some of my new favorites and forced me to read and engage with a significant number of Sam Shepard works that I otherwise wouldn't have touched. I still tend to lean more towards his "tragic middle America" style shows, but I feel like I've learned a lot about him as an artist from this collection. In fact, let's be a bit bold and give this an 8/10.