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by D. Harlan Wilson (Author)
Audiences were outraged by D. Harlan Wilson's first play, The Dark Hypotenuse, when it opened in Copenhagen in 2012. Not only did it bear the weird, estranging aesthetic that distinguishes his novels and short fiction, the play contained scenes where viewers were attacked by actors as well as a variety of endangered animals, among them an African elephant that was euthanized onstage. The Dark Hypotenuse appeared in Wilson's first collection of dramatic entertainments. This second collection includes his latest work in the field. In Jackanape, a murderous dinner jacket wreaks havoc on a community of innocent narcissists who struggle to stay alive while negotiating the rigors of the School of Life. The Fingermen portrays a support group whose members have each lost an index finger; their stories reveal their insecurities as much as the nonsense that typifies contemporary existence. In both cases, Wilson satirizes with a hammer, oscillating between hilarity and solemnity as he invites us to think about the relationship between self-delusion and (in)sanity.
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Description
by D. Harlan Wilson (Author)
Audiences were outraged by D. Harlan Wilson's first play, The Dark Hypotenuse, when it opened in Copenhagen in 2012. Not only did it bear the weird, estranging aesthetic that distinguishes his novels and short fiction, the play contained scenes where viewers were attacked by actors as well as a variety of endangered animals, among them an African elephant that was euthanized onstage. The Dark Hypotenuse appeared in Wilson's first collection of dramatic entertainments. This second collection includes his latest work in the field. In Jackanape, a murderous dinner jacket wreaks havoc on a community of innocent narcissists who struggle to stay alive while negotiating the rigors of the School of Life. The Fingermen portrays a support group whose members have each lost an index finger; their stories reveal their insecurities as much as the nonsense that typifies contemporary existence. In both cases, Wilson satirizes with a hammer, oscillating between hilarity and solemnity as he invites us to think about the relationship between self-delusion and (in)sanity.
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