Praise for 100 Essays I Don't Have Time to Write Probing, bracing, and captivating . . . a cornucopia of compact, playfully profound observations on life in and out of theatre.--Lisa Shea, Elle Ruhl's musings may remind readers of Lydia Davis' aphoristic short stories: fresh, piquant, and slyly irreverent. --Kirkus All readers, including theater buffs, will appreciate a behind-the-scenes vision of a harried Ruhl, shoeless toddler under one arm, tiny sneakers dangling by shoelaces from her teeth, stubbornly typing these pithy, diverting goodies with the other hand. --Booklist I have pretty much turned down every page of 100 Essays I Don't Have Time to Write to mark it to reread later. Basically, I will be rereading the whole book, and using it in my classes (and for myself) immediately. Ruhl is so smart and spot-on and capital R Refreshing about writing and art and more. An enormous pleasure. --Aimee Bender, author of The Color Master Sarah Ruhl is not only one of the most original playwrights in America but, it turns out, one of the most original and exciting thinkers about theatre and art and being in an audience, and the intersection of all these things with being a mother and a person. I love this perfect book. --Sheila Heti, author of How Should a Person Be? Reading this book is like going on a rainy day treasure hunt through the attic of Sarah Ruhl's mind. You never know what you are going to come across in the next box--ruminations on motherhood, both comical and poignant; nuggets of startlingly frank autobiography; and then out of nowhere a short, spontaneous treatise that will make you think about theatre in a whole new way. --Cynthia Nixon Sarah Ruhl's new book of essays is miraculous. The writing is evanescent while the thought is profound. I found it best to read the book in small bites, perhaps in the way that she wrote it. I carry it with me to sample regularly and repeatedly. --Various
About the Author
Sarah Ruhl's plays include In the Next Room, or the Vibrator Play (Pulitzer Prize finalist, Tony Award nominee), The Clean House (Pulitzer Prize finalist, winner of the Susan Smith Blackburn Prize); Passion Play, a cycle Dead Man's Cell Phone (winner of the Helen Hayes Award) and, most recently, Stage Kiss and Dear Elizabeth. She has been the recipient of a MacArthur Fellowship, the Helen Merrill Emerging Playwrights Award, the Whiting Writers' Award, the PEN/Laura Pels International Foundation for Theater Award for a midcareer playwright. She is currently on the faculty of the Yale School of Drama and lives in Brooklyn with her family.