Buried Child is a truly unique and interesting individual. He can be described as a geek, which means he has a deep passion and knowledge for a particular subject or activity.

Perhaps his area of expertise is in a niche field of science, technology, or perhaps it's in a more creative pursuit like art or music.

Geeks like Buried Child often have an insatiable curiosity that drives them to explore and learn more. They are not afraid to dive deep into the details and spend countless hours researching and perfecting their skills.

Despite sometimes being seen as different or odd by others, geeks bring a wealth of knowledge and innovation to the world. Their unique perspectives and ideas can lead to breakthroughs and advancements in various fields.

So, while Buried Child may be a geek, he is also someone who has the potential to make a significant impact and contribute to the betterment of society through his passion and expertise.

No regrets, Coyote. Your plays simply don't resonate with me. Each of them has its own unique charm, but they just aren't my cup of tea.

"True West" managed to earn 4 stars, perhaps due to its engaging plot and well-developed characters. However, for me, it didn't quite hit the mark.

"Buried Child" received 3.5 stars. The story had its moments, but overall, it left me feeling a bit underwhelmed.

"Curse of the Starving Class" scored 3.25 stars. While it explored some interesting themes, it didn't have the impact that I was hoping for.

"The Tooth of Crime" only managed 2 stars. I found it difficult to connect with the characters and the story.

"La Turista" received 3 stars. It had its亮点, but it also had some flaws that prevented it from being a truly great play.

"Tongues (With Joseph Chaikin)" and "Savage/Love (With Joseph Chaikin)" both received 2 and 3.5 stars respectively. These plays had their own distinct styles, but again, they didn't quite capture my interest.

In conclusion, while Coyote's plays may have their fans, they just don't do it for me.

The Most Absurd Works I’ve Ever Read

Throughout my reading journey, I have come across some truly absurd works that left me both baffled and entertained. These pieces of literature seemed to defy all logic and convention, taking me on a wild ride of the imagination.

One such work was a novel that had a plot so convoluted and full of unexpected twists that it was almost impossible to follow. The characters' actions and decisions made no sense, yet somehow, it managed to hold my attention.

Another absurd work was a collection of short stories that were filled with strange and surreal imagery. The author's use of language was so unique and inventive that it created a world that was both familiar and completely alien.

Despite their absurdity, these works had a certain charm and appeal. They made me think outside the box and question my own assumptions about what literature could be. They reminded me that sometimes, the most interesting and engaging stories are the ones that break the rules and take risks.

In conclusion, while the most absurd works I've ever read may not be to everyone's taste, they have definitely left a lasting impression on me. They are a testament to the power of the human imagination and the endless possibilities of literature.

Seven plays were presented.

One of them was a unique piece designed to be performed along with a live percussionist. It aimed to offer a profound meditation on the nature and sound of the spoken language.

Another play was essentially a collection of spoken word poems.

This left five plays in the more traditional sense.

Some of these plays were truly excellent,展现出高超的艺术水准和深刻的内涵.

However, others felt a bit dated. It seemed that perhaps they were avant-garde when they were first performed, pushing the boundaries of theatrical expression.

But as time has passed, they no longer had the same impact and failed to pack the intended punch.

Overall, the collection of plays offered a diverse range of experiences, with both successes and areas that could benefit from further exploration and evolution.

True West is a remarkable play that has captivated audiences with its intense and complex characters.

Curse of the Starving Class also offers a powerful exploration of family dynamics and the struggles of the working class.

Buried Child is yet another masterpiece that delves into the hidden secrets and traumas within a family.

However, the rest of the plays didn't quite have the same impact on me. Nevertheless, I would still love to see the two shorter ones, Tongues and Savage/Love, performed live.

I believe that experiencing them on stage would bring a new dimension to my understanding and appreciation of these works.

Perhaps the live performance would reveal aspects of the plays that I missed during my initial readings.

It would be fascinating to see how the actors bring the characters to life and how the staging and direction enhance the overall atmosphere and themes of the plays.

I'm eager to witness the energy and passion that can only be achieved in a live theatrical setting.

In the age of “The Death of the Masculine” and millennialism, I chanced upon Sam Shepard, America’s manliest playwright. And then, to my great dismay, he passed away.

During my school days, I was unable to fully appreciate his genius. I would cringe whenever I overheard my classmates discussing him with misunderstandings and, at times, pure idiocy. It seemed that people just didn't get Shepard. They neither wanted to nor cared to understand the depth and complexity of his works.

Now that he is gone, I have come to realize just how stunning I always quietly considered Shepard to be. Just look at Terrance Malick’s Days of Heaven, arguably the most beautiful of all American films, and you'll see what I mean. I am filled with a sense of disappointment that I never had the opportunity to see or act in a play written by him. His death, for me, finalizes the end of an era.

I love you, Sam Shepard. Your works will always remain a testament to your extraordinary talent and will continue to inspire generations to come.

Take all of this with the largest boulder of salt that you can, as reading plays in no way captures the experience of seeing one.

It's not quite as wonky as reading lyrics very plainly versus hearing the actual song, as you can get a good sense of the dialogue's rhythm. But I'm pretty sure it wasn't Sam Shepard's intention for people to experience his stageplays for the first time via reading them.

However, for me, "Seven Plays" had some high highs and some baffling lows.

"True West" was a masterpiece. I had some familiarity with the gist of the plot from a college acting class assignment, but reading it front to back for the first time was truly something special. Hilarious, manic, and tense all at once, it's definitely the best of the bunch.

Then there's a big gap to my other favorites. I was really surprised by how much I liked "Curse of the Starving Class". It encapsulates everything awesome and frustrating about Shepard's plays. He captures familial dysfunction and financial struggles in America well, but I feel like I'm missing some context.

This is especially true in "Buried Child". Even with my best efforts, the meaning went over my head. There were elements I liked, and Shepard's dialogue is explosive. I can see why actors and writers are drawn to his work.

Everything else was weird and confusing. I gave up on "The Tooth of Crime" after 15 pages, and "La Turista" had its moments but felt lacking without the right context.

"Tongues" and "Savage Love" may have their brilliance, but it goes back to the problem of reading lyrics without the rhythm.

All in all, if you're a writer, "Seven Plays" is worth checking out. At the very least, "True West" is a must. I'll definitely be revisiting this collection, hopefully in a live performance.

I use this book to squash spiders in my apartment.

Sincerely, that's what my copy is for. It may seem like an odd use for a book, but in my small living space, it has served this practical purpose on more than one occasion.

Oh, and there is a decent monologue in La Turista. However, I must admit that I'm just not a fan of Sam Shepard's plays.

I really wanted to be. I made an effort to understand and appreciate his work. I read his plays with an open mind, hoping to discover the depth and beauty that others seem to find.

But for me, he is just too off the wall and abstract. His writing style and the themes he explores are often too complex and difficult for me to grasp.

Maybe I'm just not the right audience for his plays, but I can't help but feel a bit disappointed that I haven't been able to connect with his work on a deeper level.

I adored the first three plays. They were my absolute favourites.

Each one had its own unique charm and captivated me from the very beginning.

The storylines were engaging, filled with twists and turns that kept me on the edge of my seat.

The characters were well-developed and relatable, making it easy for me to become emotionally invested in their lives.

The acting was superb, with the actors bringing the characters to life in a truly remarkable way.

I found myself completely immersed in the world of each play, and I couldn't wait to see what would happen next.

These plays will always hold a special place in my heart, and I will continue to cherish the memories of experiencing them.

Sam Shepard is an extremely interesting playwright. His works teeter on the edge of the experimental, yet they powerfully echo the sentiment of the working class during that era.

I have truly relished several of his plays. In fact, the last two plays are ones that I would absolutely love to witness in a theatrical setting. The stage production would, no doubt, bring out the full essence and energy of these works.

However, I must admit that some of his plays I found to be a bit of a slog to get through. Merely reading straight plays isn't always the most exciting experience. But this particular book was sitting on my shelf, and I was determined to check it out.

Overall, I am still very much interested in delving further into Sam Shepard's body of work and seeing what other gems and unique perspectives he has to offer. I look forward to exploring more of his plays and perhaps even having a better understanding of his creative vision and the impact his works have had on the world of theater.

The collection of plays under review encompasses a diverse range. It includes some truly fantastic works such as "True West", "Buried Child", and "Curse of the Starving Class". These plays are not only engaging but also thought-provoking, delving into various aspects of human nature and society. Then there is some okay stuff like "La Turista", "Tongues", and "Savage Love". While they may not reach the same heights as the first three, they still have their own merits and offer different perspectives. However, there is also the terrible "The Tooth of the Crime". This play fails to deliver on multiple fronts and leaves a lot to be desired. Despite the presence of this one dud, the first three plays are so outstanding that they alone are worth the price of the entire book. They are masterpieces that showcase the author's talent and creativity, and are sure to leave a lasting impression on the reader.

A telling portrait of white lower class America emerges from these various plays. However, what they present is a rather one-sided and somewhat tiresome narrative. In their ceaseless violence, they detail the same story of “Not all white people have it good” using different shock tropes.

Even when highlighting economic detriment, this approach just isn't compelling or apt in our current socio-political context. It seems to be a rehash of an old idea that doesn't quite resonate anymore.

Rather than delving deeper into the complex issues facing white lower class America, these plays seem content to simply shock and repeat the same message. It's time to move on and explore more nuanced and relevant perspectives.

Perhaps there are other aspects of the white lower class experience that can be explored, such as the cultural and social factors that contribute to their situation. Or maybe a more intersectional approach could be taken to understand how race, class, and other identities interact.

In any case, it's clear that the current approach taken by these plays is not enough to truly understand and address the issues facing white lower class America in our modern world.