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<mask>. (born March 10, 1947) is an American journalist and author. He worked for 24 years for the Chicago Tribune newspaper, where he was a columnist. <mask> has written books on subjects including Michael Jordan, Alice Cooper, and U.S. presidents. His book Hang Time: Days and Dreams with Michael Jordan became a bestseller. Early life
Originally from Bexley, Ohio (a suburb of Columbus), <mask> attended Northwestern University in Evanston, Illinois, and became a reporter and feature writer for the Chicago Sun-Times upon graduating in 1969, receiving a regular column in the paper within two years. <mask> first drew significant national attention with his book Billion Dollar Baby (1974), a diary of his experiences while touring with rock musician Alice Cooper and portraying Santa Claus during the show. Newspaper column
<mask>'s primary focus remained his newspaper column, for which he won the National Headliner Award for best column in 1977 from an American journalism group.Shortly afterward, <mask> was hired by Chicago Tribune and began making occasional guest appearances on local television, eventually landing a commentary slot on the ABC news program Nightline. He also wrote the "American Beat" column in Esquire. In January 1980, <mask> assisted Los Angeles Police in apprehending a man who had allegedly written letters to <mask> as well as to police threatening to go on a killing spree. At that time <mask>'s column appeared in approximately 120 newspapers, including one in the Los Angeles community of Huntington Park where the letter writer lived. In the first week of January, <mask> traveled to Los Angeles at the request of police. Through the use of his column, <mask> gave out a phone number to his hotel room that the letter writer, who identified himself in letters as "Moulded to Murder", was to use to contact <mask>. Police were able to trace the call and arrest the man at a payphone.<mask> chronicled these events in his daily column as they occurred. In 1989, he asked Vietnam veterans if they had really been spat upon when they returned from overseas. The response was so overwhelming, he published a book—Homecoming: When the Soldiers Returned From Vietnam— full of the letters he received. During the 1990s, <mask> spent time covering Michael Jordan of the Chicago Bulls basketball team, forming an unlikely friendship that <mask> documented in two best-selling books. The movie Funny About Love (1990) was based on a <mask> column. In 1993, his novel All Summer Long was published by Doubleday, and his columns are collected in several books. Though <mask> was popular with readers, critics accused him of excessive sentimentality, heavy writing and repetitive coverage of the same subject, most notably the Baby Richard child custody saga.A therapist for the birth parents in the custody case, Karen Moriarty, claimed in the book Baby Richard: A Four-Year-Old Child Comes Home that <mask> never spoke to the parents, although he covered the subject with 100 columns in which he strongly took the side of the adoptive parents. <mask> claimed that the biological parents, the Kirchners, did not respond to his requests for interviews. The Chicago Reader ran a derisive column, "BobWatch: We Read Him So You Don't Have To," penned pseudonymously by Chicago Sun-Times columnist Neil Steinberg. <mask>'s experiences as a roadie for Alice Cooper were parodied by comics writer Steve Gerber in the background of the villain Dr. Bong (real name: Lester Verde) in the 1970s Marvel comic Howard the Duck. Critical coverage of <mask>, which offered extensive coverage of his predilection for rewriting pop-culture press releases, was also featured in Spy magazine in a December 1988 article by Magda Krance, "You Wouldn't Want to Be <mask>". Krance characterized his output as "the journalistic equivalent of Tuna Helper." Dismissal from the Tribune
In September 2002 <mask> was forced to resign from his newspaper column after admitting to an unconsummated extramarital sexual relationship 14 years earlier with a high school student.The student had visited <mask> at work for a school project and became the subject of one of his columns. Admission of the affair attracted considerable attention. Reports at the time stated that the woman had reached out to <mask> and that he was alarmed enough by whatever she said to contact the FBI, which looked into the matter at a pre-investigative level and did not take any action afterwards. When the news broke, <mask> had meetings with his bosses at the Tribune (he said later he was ordered not to bring a lawyer to one of them, with the Tribune stating they never said that) and offered to resign. He was surprised when the Tribune told him his resignation was accepted, and the paper publicly stated that he had been dismissed for "abusing his position for his own benefit" but did not provide details at that point. The full story, that he was basically told to leave and did so on non-criminal grounds, did not emerge fully until months later. The woman with whom <mask> had a relationship was 17, legal age in Illinois, and had graduated from high school in the months between their first meeting and his invitation to take her out to dinner.Their sole hotel tryst was described in the Chicago Tribune as a "sexual encounter that stopped short of intercourse," and <mask> told Esquire that he demurred at going further, telling her, "You should wait to do this with someone you love". Four months after <mask>'s resignation from the Chicago Tribune, his wife Susan died of heart failure following a month-long respiratory illness. Current books
<mask> did not return to newspaper or magazine journalism. He continues to write books and is a contributing writer to CNN.com. His 2006 book, And You Know You Should Be Glad: A True Story of Lifelong Friendship, is a personal account of the illness and death of his lifelong friend Jack Roth at age 57. Publishers Weekly reviewed it as follows:

Bestselling author <mask>... looks back on his youth in Bexley, Ohio (pop. 13,000), where he and his four pals grew up together, calling themselves ABCDJ (for Allen, <mask>, Chuck, Dan and Jack)... <mask> met Jack in kindergarten, and they remained best friends for life.Remembering people and places they shared, the two revisit old haunts, discovering that their beloved Toddle House, where they once went for late-night chocolate pie, is now a Pizza Plus. <mask>'s repetitive, rambling free associations recall everything from his Halloween costume and old songs to ice cream parlors, state fairs and clothing fads. Unfortunately, the author's dusty attic of lost Americana is cluttered with clichés, nostalgia and overly sentimental yearnings. His next book, When We Get to Surf City: A Journey through America in Pursuit of Rock and Roll, Friendship, and Dreams, was released on May 13, 2008. It is a chronicle of a 15-year period when he intermittently toured with surf-rock musicians Jan and Dean, singing backup and playing guitar. His latest book, Late Edition: A Love Story was released on July 7, 2009. In it, he wistfully chronicles  his days as a copyboy and other apprentice positions at the Columbus Citizen-Journal and the Columbus Dispatch.Awards and honors

In 1977, <mask> won the National Headliner Award for writing the previous year's best column. In 1995, <mask> was named Illinois Journalist of the Year. In the same year he was awarded the Peter Lisagor Award for Public Service Journalism for his reporting on courts failing children in need. Personal life

<mask> has two children with Susan Koebel <mask>. Bibliography
Late Edition: A Love Story (St. Martin's Press, 2009)
When We Get to Surf City: A Journey Through America in Pursuit of Rock and Roll, Friendship, and Dreams (St. Martin's Press, 2008)
And You Know You Should Be Glad: A True Story of Lifelong Friendship (William Morrow, 2006)
Fraternity: A Journey in Search of Five Presidents (Crown, 2004) (interviews with ex-presidents)
Once Upon a Town: The Miracle of the North Platte Canteen (William Morrow, 2002)
Duty: A Father, His Son, And The Man Who Won The War (William Morrow, 2000) (half about his relationship with his father, half on Paul W. Tibbets)
Notes on the Kitchen Table: Families Offer Messages of Hope for Generations to Come (Doubleday, 1998) (co-authored with his sister, D.G. Fulford)
The 50-Year Dash: The Feelings, Foibles, and Fears of Being Half-a-Century Old (Doubleday, 1997)
Chevrolet Summers, Dairy Queen Nights (Viking, 1997) (collection of columns)
Rebound: The Odyssey of Michael Jordan (Viking, 1995)
To Our Children's Children: Preserving Family Histories for Generations to Come (Doubleday, 1993) (co-authored with his sister, D.G. ", CNN Reliable Sources, September 21, 2002

1947 births
Living people
American columnists
Bexley High School alumni
People from Bexley, Ohio
Chicago Tribune people
Northwestern University alumni
Writers from Chicago
Chicago Sun-Times people
Journalists from Ohio
People from Greater Columbus, Ohio

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Robert Bernard Greene Jr
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<mask> (9 April 1832 – 22 October 1916), was a 19th-century Australian breeder and jockey of Thoroughbred racehorses, De Mestre, was Australia's first outstanding racehorse trainer and racing identity. In his 30-year career he experienced all the highs and the lows of the turf in a career which ended with him dependent on donations from racing friends. With the five wins <mask>re achieved in the Cup's first 18 years, he held the record for training the most Melbourne Cup winners for nearly 100 years. De Mestre won the first two Melbourne Cups with Archer in 1861 and 1862, and later trained a further three winners: Tim Whiffler (1867); Chester (1877); and Calamia (1878). He set a training record for Melbourne Cup winners which was finally broken by Bart Cummings in 1977. De Mestre also trained many other feature race winners including two AJC and two VRC Derbies and an Epsom Handicap. In recognition of his outstanding achievements, <mask> was inducted into the Australian Racing Hall of Fame part of the Australian Racing Museum on 12 September 1992.In the racing industry one could best describe <mask> <mask> as the "Bart Cummings" (the greatest of all Australian Racehorse trainers) of the 19th century. Early life
<mask> was born in George Street, Sydney on 9 April 1832 in his parents' home, on the same block of land backing onto the Tank Stream that his mother had been born 30 years earlier. He was the third and youngest son of the Frenchman Prosper <mask>, a Sydney merchant, and Sydney-born Mary Ann Black and grandson of privateer John Black. His career was a series of triumphs with a long succession of champion horses passing through his hands. Many of these he bred himself, and many others such as Archer, Tim Whiffler, Chester, Yattendon, Plant and "Veno" he trained, and even sometimes rode. De Mestre's association with George Taylor Rowe (1822–1859) of Liverpool, England, the owner of the celebrated Veno, and the father of the little girl who was to grow up and one day to be his wife; and with his good school-friend Thomas John "Tom" Roberts (1831–1899) of Jembaicumbene near Braidwood, one of the owners of many champion horses including Mariner, Sailor, Archer, and Tim Whiffler, was at the forefront of a wonderful career of thirty years. He occupied a leading place among the racing celebrities of Australia and was the first national sportsman to represent the Shoalhaven district where he lived.As a school boy <mask> loved thoroughbred horse racing, and developed into an excellent horseman, amateur jockey, and trainer. De Mestre spent his school holidays racing and working with the thoroughbred horses on his school-friend Thomas John "Tom" Roberts' "Exeter Farm" at Jembaicumbene. It has been said that in 1847, at the age of 15, and just three years after his father's death, he won the main event at Bathurst on his favourite Roberts' horse Sweetheart. There is no newspaper support to sustain this story. It is possible that he was at the Goulburn races as a spectator after having ridden there with Tom. De Mestre later leased and trained Nancy, a foal of Sweetheart. He raced Nancy at Numba in 1856 and 1857.Family
In about 1850 <mask>'s first child Helen "Ellen<mask> <mask> (c.1850-1934) was born in the vicinity of Jembaicumbene near Braidwood when he was only about 18. Ellen's mother was the Aboriginal girl <mask>. One of Ellen's grandchildren Guboo Ted Thomas (1909–2002), who was born under a gum-tree at Jembaicumbene, became a prominent Aboriginal leader, and the last initiated tribal elder on the South Coast of New South Wales; and one of her great grand children <mask> Hornsby (1947- ) was born in Brisbane to "Ellen" <mask>re's grand daughter Gladys. <mask> Hornsby came to prominence as an urbanized contemporary Aboriginal artist combining Aboriginal dot painting with visions of contemporary Australian life and landscapes. Early career
In the early 1850s <mask>re went into partnership with his elder brother Andre Cotteral <mask> (1823–1917) and leased a section of the "Terara" (near the mouth of the Shoalhaven River) from their mother. There they established a horse stud, stable and racecourse where unofficial races were held and which was said to be the finest training track in the colony. After inheriting "Terara" on their mother's death in 1861 they converted the rest of the farm into the best training and breeding establishment outside Sydney.In 1857 <mask> <mask>re rode George Taylor Rowe's horse Plant to victory in the Liverpool Club's Members Plate. George Taylor Rowe's horse Veno had already been sent from Sydney to Melbourne by steamship. After the Liverpool meeting <mask>re steamed to Melbourne with George Taylor Rowe to assist in the training preparation of Veno for the first inter-colonial Champion Challenge race between the champions of New South Wales and Victoria at Flemington. Veno won against the Victorian champion in front of 20,000 spectators. <mask> became recognised as a master trainer, coming to prominence after leasing, training, and successfully racing Rowland Hassall & Tom Roberts' "Exeter Farm" bred colts Mariner and Sailor from 1857 to 1859. This made him an overnight success as a trainer, with owners throughout the area keen to send him their best horses. Melbourne Cup
In 1861 De Mestre first sent horses of his own from Sydney to Melbourne by steamship.He sent three horses to run in the inaugural Melbourne Cup. His prowess as a trainer was significantly boosted by winning the Cup with one of these horses, Archer, a horse that he leased from Hassall & Roberts and raced in his own name. Archer raced again the next day to win another 2-mile long distance race, the Melbourne Town Plate. The next year, after Archer had won the 1862 AJC Queen Elizabeth Stakes in Randwick, Sydney, <mask>re again shipped horses including Archer to Melbourne to race in the Melbourne Cup. Archer won his second Melbourne Cup by 10 lengths. Winning the Melbourne Cup twice was a feat not repeated until more than seventy years later when Peter Pan won the race in 1932 and 1934, and winning the Melbourne Cup two years in a row was a feat not repeated until more than 100 years later when <mask> won in 1968 and 1969. De Mestre's plans to run Archer in the third Melbourne Cup in 1863 were upset when, after already having shipped Archer and other horses to Melbourne, the Victoria Turf Club declared that <mask>re's telegraph of acceptance for Archer for the Cup had arrived late and scratched Archer on a technicality.In protest of this decision and in a show of solidarity, all the interstate owners boycotted the third race and scratched their horses in sympathy. What was unknown at the time, however, was that due to injuries Archer would later sustain in the lead up to the Cup it is unlikely that he would have been able to race. As a result, the scratchings the Melbourne Cup of that year ran with only the 7 local Victorian starters, the smallest number in the history of the Cup. Following the debacle over the third Melbourne Cup, <mask> swore that he would never again race in Victoria. But he did. In 1867 he returned to the Melbourne Cup with horses from his stable. He set a new record and won for a third time with a horse that he leased from the owners of Archer, Tim Whiffler.Each year he continued to ship horses to Melbourne to compete in the Melbourne Cup. De Mestre meanwhile built a formidable record in other classic races in Victoria and NSW. In 1872 <mask>re's rival trainer 'Honest' John Tait beat <mask>re's record and had won four Melbourne Cups. It was not until 1877 that <mask>re was able to match this new record, and not until 1878 that he was able to beat and hold it for the next 99 years. Marriage
On 27 December 1873, aged 41, <mask> <mask>re married 21-year-old Clara Eliza Rowe (1852–1934), daughter of George Taylor Rowe (1822–1859), at St Matthias's Church, Paddington. Twenty years older than Clara, Etienne had known her since she was a young child and watched her grow up. Together they had eleven children, 10 of whom survived infancy.Their youngest son, <mask> Maistre (1894–1968), born after <mask>re had retired from training, was a successful artist who lived the later part of his life in London where he formed a friendship with novelist Patrick White. In 1876 <mask>re's entry in the Melbourne Cup, favourite Robin Hood, and ten other horses were lost at sea when the S.S. City of Melbourne was struck by a severe storm off the coast at Jervis Bay. The loss of Robin Hood did not stop <mask>re from transporting horses by sea to Melbourne to compete in the Melbourne Cup. In the next two years <mask>re won two more Melbourne Cups with Chester in 1877 and Calamia in 1878. Having then won 5 Melbourne Cups established his place in history as Australia's first outstanding racehorse trainer. With his Melbourne Cup win on Calamia in 1878, De Mestre also equalled his rival John Tait's record set 6 years earlier of owning the winners of 4 Melbourne Cup. However, although 2 of the 3 horses that won these races, Archer and Tim Whiffler, raced in <mask> <mask>re's name, and therefore <mask>re is recorded by history as their owner, they was not actually legally owned by <mask>re.Instead <mask>re leased from the "Exeter Farm", for training and racing purposes, both Archer (1861, 1862) and Tim Whiffler (1867). As a lessee <mask>re "owned" and was fully responsible for the horses during the leases, including keeping any of their purses. Archer and Tim Whiffler were leased from Thomas John "Tom" Roberts (a close school-friend of <mask>re), Rowland H. Hassall (Tom's brother-in-law), and Edmund Molyneux Royds and William Edward Royds (Tom's nephews, the sons of Thomas Molyneux Royds who before his death in 1852 had owned Archer's dam and sire). When Archer was retired from racing he was not retained by <mask>re for breeding purposes but was returned to his legal owners at "Exeter Farm". De Mestre's success as a trainer or an owner were not repeated in the betting ring. He frequently gambled on the wrong runner from his stable, and many times lost to the bookmakers all his considerable stake winnings from a carnival. In 1882, the first year bookmakers were licensed at Flemington, he tried to recoup some of his gambling losses by betting on two of his horses for a VRC Derby-Melbourne Cup double in what is reputed to be the largest single bet ever placed in the Colonies up to that time.After winning the first leg of the bet with Navigator, he scratched this same horse from the Cup as he felt that his other horse Sweet William would be the winner. Injury prior to the race placed Sweet William in 5th place, and <mask>re lost his gamble. Later years
De Mestre encountered many financial and health problems in the early 1880s and at the age of 51, in 1883, his inherited property of "Terara" was auctioned off to pay his debts, and the all-black livery of the Terara stable disappeared from the colonial racing world. Although most successful as owner and trainer, De Mestre had been persuaded to invest heavily in Queensland property and it was here that he ran into trouble. A severe drought in Queensland, and also on the Shoalhaven, broke him financially. Finally he sold up, and when his health began to fail, friends organised a benefit race meeting for him. It was extremely successful and the proceeds enabled him to live quietly yet comfortably until his death.Death
He died at "Garryowen" at Moss Vale on 22 October 1916 at the age of 84, and was buried in the Church of England cemetery at Bong Bong, New South Wales. Sporting Achievements

Notes

References
 The Masters Touch, Racing with <mask> <mask>, Winner of 5 Melbourne Cups by Keith W. Paterson, Published by Keith W. Paterson [Nowra] (2008) ()
D. R. Hainsworth, '<mask>, <mask> <mask>e (1832 - 1916)', Australian Dictionary of Biography, Volume 4, MUP, 1967, pp 42–43. Australian Racing Museum - E de Mestre
Shoalhaven Hall of Sporting Fame

External links

1832 births
1916 deaths
Australian horse trainers
Australian racehorse owners and breeders
Australian Thoroughbred Racing Hall of Fame inductees
Australian people of French descent
19th-century Australian businesspeople

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Etienne Livingston de Mestre
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<mask> (born September 2, 1954) is an American playwright and Professor (Adjunct) of English and Theater & Performance Studies at Yale University. In 2000, he received the Pulitzer Prize for Drama for his play Dinner with Friends. Background and education
<mask> attended John Dewey High School in Brooklyn, New York, and graduated from Purchase College where he received a BFA in Visual Arts. <mask> lives with his wife, Lynn Street, a physician, and their son, Miles, in New Haven, Connecticut. He is a professor of English and Theatre & Performance Studies at Yale University. <mask>' notable works include The Country House (2014), Time Stands Still (2009) and Brooklyn Boy (2004). Sight Unseen and Collected Stories were finalists for the Pulitzer Prize for Drama, in 1992, and 1997, respectively; Dinner with Friends was awarded the Pulitzer Prize in 2000.<mask> said of Sight Unseen, "It's about loss, like most of my plays, and about identity." Ben Brantley noted themes in his works: "The central motifs in Brooklyn Boy have always been visible in Mr. <mask>'s work, from the willed amnesia of the self-invented artist (Sight Unseen) to the hazy lines between fiction and reality (Collected Stories). And Eric's fractious, divided family, summoned in recollection in Brooklyn Boy, has been anticipated in The Loman Family Picnic and What's Wrong With This Picture? Long Lost
The play was developed in connection with the Nashville Repertory Theatre Ingram New Works Festival. The unfinished play was given a reading in May 2015 at the Festival. The play focuses on a "long-overdue reunion between two middle-aged brothers." Long Lost opened Off-Broadway, produced by the Manhattan Theatre Club, at New York City Center — Stage I on May 14, 2019 in previews, officially on June 4.Directed by Daniel J. Sullivan, the cast features Kelly AuCoin, Annie Parisse, Lee Tergesen and Alex Wolff. The Country House
The play takes place in the Berkshires, where Anna, an actress, is appearing at the Williamstown Theatre Festival. She is entertaining her son, a failed actor, Elliot; a handsome famous actor, Michael; her son-in-law, Walter, who was married to her deceased daughter, and his girlfriend/fiancé, Nell and his daughter Susie. The Country House opened on Broadway on October 2, 2014, at the Manhattan Theater Club's Samuel J. Friedman Theatre. It was a co-production with the Geffen Playhouse, where it had its world premiere on June 11, 2014, directed by Daniel Sullivan and starred Blythe Danner ("Anna"), Eric Lange, David Rasche and Sarah Steele; Scott Foley and Emily Swallow originated roles played on Broadway by Daniel Sunjata and Kate Jennings Grant. It won the 2014 L.A. Ovation Award for Best Play (Large Theatre) and was selected an Applause Books Best Play of 2013–14. Time Stands Still

Time Stands Still opened on Broadway on January 28, 2010, at the Manhattan Theatre Club's Friedman Theatre for a limited engagement.It resumed performances on September 23, 2010, at the Cort Theatre, where it ran until January 30, 2011; between its two runs, it played a total of 24 previews and 193 performances. It starred Laura Linney, Brian d'Arcy James, Eric Bogosian and Alicia Silverstone (later succeeded at the Cort by Christina Ricci), and was directed by Daniel Sullivan. The play was nominated for a 2010 Tony Award for Best Play and was a Burns Mantle Best Play of 2009–2010. Linney was nominated for a Tony Award for Best Actress in a Play. Time Stands Still had its world premiere at the Geffen Playhouse (Los Angeles) in February 2009 which had commissioned it. Directed by Sullivan, the Geffen premiere featured Silverstone, Anna Gunn, David Harbour and Robin Thomas. Its European premiere took place in Stockholm in 2009.Shipwrecked! An Entertainment
The play, set in the 19th Century, focuses on "Louis de Rougemont" who was shipwrecked on a Coral Sea Island and lived with Australian aborigines, or so he tells his listeners in England. The play made its world premiere in the September 2007 Pacific Playwrights Festival at South Coast Repertory, where it starred Gregory Itzin and was directed by Bart DeLorenzo. The play went on to productions at the Geffen Playhouse, where it again was directed by DeLorenzo and starred Itzin and Long Wharf Theatre in New Haven, directed by Evan Cabnet in February 2008. The play opened Off-Broadway at Primary Stages, directed by Lisa Peterson, running from February 8, 2009 to March 7, 2009. Michael Countryman appeared in the Long Wharf and Off-Broadway productions. It received the 2009 Outer Critics' Circle Award nomination for Outstanding New Play.Brooklyn Boy
Brooklyn Boy began at the Pacific Playwrights Festival, in 2003, and was produced at South Coast Repertory in 2004, on Broadway by Manhattan Theatre Club at the Biltmore Theatre in February 2005, and in Paris at the Comedie des Champs-Élysées. It was an American Theatre Critics' Association New Play Award finalist, a 2005 Outer Critics' Circle nominee for Outstanding New Broadway Play and a Burns Mantle Best Play of 2004–2005. The play was directed by Daniel Sullivan, and its original cast at the South Coast Rep was Adam Arkin, Arye Gross, Allan Miller, Ari Graynor, Mimi Lieber, Kevin Isola and Dana Reeve (whose role was played on Broadway by Polly Draper). Dinner with Friends
Dinner with Friends, which received the 2000 Pulitzer Prize for Drama, was commissioned by Actors Theatre of Louisville (Kentucky), where it had its world premiere at the 1998 Humana Festival of New American Plays. A revised version was produced in October 1998 at South Coast Repertory in Costa Mesa, California. The play opened Off-Broadway at the Variety Arts Theatre in November 1999, where it played 654 performances. In addition to the Pulitzer, Dinner with Friends received an American Theatre Critics Association New Play Citation, The Dramatists' Guild/Hull-Warriner Award, the Lucille Lortel Award for Outstanding Off-Broadway Play, the Outer Critics Circle Award for Outstanding Off-Broadway Play a Drama Desk Award nomination for Best Play and was selected a Burns Mantle Best Play of 1999–2000.It went on to have a long run in Paris at the Comedie des Champs-Élysées, and productions in  London, Berlin, Vienna, Stockholm, Tokyo, Mumbai, Seoul, Tel Aviv and Istanbul. In 2002 it was an Emmy Award-nominated film for HBO. Collected Stories

Collected Stories was commissioned by South Coast Repertory, where it had its world premiere in 1996. It went on to have three New York productions: its premiere Off-Broadway at Manhattan Theatre Club's City Center Stage I, in 1997, with Maria Tucci and Debra Messing, directed by Lisa Peterson; in 1998–99 at the Lucille Lortel Theatre with Uta Hagen and Lorca Simons, directed by William Carden; and on Broadway in 2010 at Manhattan Theatre Club's Friedman (formerly Biltmore) Theatre, starring Linda Lavin and Sarah Paulson, directed by Lynne Meadow. Lavin received a 2010 Tony Award nomination for Best Actress in a Play for her performance. Lavin had previously played the role of Ruth Steiner in May - June 1999 at the Geffen Playhouse in a production co-starring Samantha Mathis, directed by Gilbert Cates, which was later re-produced for television broadcast by PBS Hollywood Presents in 2002. The play has had many productions all over the country and around the world, including one in London in 1999, at the Theatre Royal Haymarket, with Helen Mirren and Anne-Marie Duff, directed by Howard Davies.Collected Stories was a finalist for the 1997 Pulitzer Prize for Drama. Sight Unseen
Sight Unseen was commissioned by South Coast Repertory, where it had its premiere in September 1991. The play premiered Off-Broadway in a Manhattan Theatre Club production, at City Center II on January 7, 1992 and transferred to the Orpheum Theatre on March 26, 1992 where it ran for a combined total of 293 performances. It was directed by Michael Bloom and starred Dennis Boutsikaris, Deborah Hedwall, Jon DeVries and, in the supporting role of a German art critic, Laura Linney. Linney played "Patricia" in the play's Broadway premiere at Manhattan Theatre Club's Biltmore Theatre, running from May 6, 2004 (previews) to July 25, 2004. The cast featured  Ben Shenkman, Byron Jennings and Ana Reeder, directed by Daniel Sullivan. Linney received a Tony Award nomination for Best Actress in a Play.The play was a finalist for the 1992 Pulitzer Prize for Drama. The Loman Family Picnic
The Loman Family Picnic was first produced by Manhattan Theatre Club (MTC) at City Center Stage II, from June 6, 1989 to July 2, 1989, with Marcia Jean Kurtz and Larry Block, directed by Barnet Kellman.<ref>[http://www.lortel.org/lla_archive/index.cfm?search_by=show&id=1763 "The Loman Family Picnic' 1989" ]  lortel.org, accessed November 3, 2015</ref> The MTC revival ran from October 28, 1993 to January 9, 1994 at New York City Center Stage I. Directed by Lynne Meadow, the cast featured  Christine Baranski and Peter Friedman, The play was nominated for the 1994-95 Drama Desk Award, Best Revival of a Play and was a Burns Mantle Best Play of 1988–1989. The Model Apartment
Lola and Max are in their 60s and are Holocaust survivors. They have moved from Brooklyn to a condominium in Florida. Debby is their overweight and messy daughter, late 30s. Neil is 15, a black young man who is Debby's boyfriend.The Model Apartment premiered at Los Angeles Theatre Center in November 1988, directed by Roberta Levitow featuring Chloe Webb as "Debby", Milton Selzer and Erica Yohn as her parents and Zero Hubbard.The play opened Off-Broadway at Primary Stages, running from October 11, 1995 to November 12, 1995. Directed by Lisa Peterson, the cast featured Lynn Cohen (Lola), Akili Prince, Paul Stolarsky and Roberta Wallach. <mask> won the 1995-96 OBIE Award for Playwriting, and the play was a 1995-96 Drama Desk nominee for Best Play and a Dramatists' Guild/Hull-Warriner Award finalist. The play was revived Off-Broadway by Primary Stages, from September 24, 2013 (previews), officially on October 15. Directed by Evan Cabnet, the cast featured Mark Blum, Diane Davis and Kathryn Grody. It was nominated for two Lucille Lortel Awards (Outstanding Lead Actress in a Play, Diane Davis and Outstanding Revival) and for two 2014 Drama Desk Awards (Outstanding Revival of a Play and Outstanding Featured Actress in a Play, Diane Davis). What's Wrong with This Picture?Shirley, a Jewish housewife and mother from Brooklyn, returns from the dead to reconcile with her family. Her husband Mort is grieving and teen son Artie can't forgive her for leaving him.What's Wrong with This Picture? was first produced Off-Broadway by the Manhattan Theatre Club Stage 73, from January 29, 1985
to February 23, 1985, directed by Claudia Weill and starring Madeline Kahn as Shirley. It was next produced Off-Broadway by the Jewish Repertory Theatre from June 9, 1990 to August 5, 1990, directed by Larry Arrick. The play ran on Broadway at the  Brooks Atkinson Theatre from November 15, 1994 in previews, officially on December 8, 1994 and closed on December 18, 1994. Directed by Joe Mantello, the cast featured Faith Prince, Alan Rosenberg, Jerry Stiller, and David Moscow. Found a Peanut Found a Peanut was first produced by Joseph Papp at the New York Shakespeare Festival in June 1984, where it was directed by Claudia Weill and starred Robert Joy, Evan Handler, Peter McNicol, Greg Germann, Robin Bartlett, Nealla Spano, Kevin Geer and Jonathan Walker.Gifted Children Gifted Children was produced by the Jewish Repertory Theater (New York City) in December 1983, directed by Joan Vail Thorne and starring Dinah Manoff and Zohra Lampert. Adaptations Luna Park is a one-act play inspired by the short story "In Dreams Begin Responsibilities" by Delmore Schwartz and was his New York debut as a playwright. The play was commissioned by the Jewish Repertory Theater which produced the play in February 1982 with direction by Florence Stanley. "'Delmore,' One Acters, To Bow at Jewish Rep" New York Times, January 14, 1982

His play God of Vengeance, based on the Yiddish classic by Sholem Asch, was produced at ACT Theatre (Seattle) in April 2000, and in August 2002 at the Williamstown Theatre Festival, directed by Gordon Edelstein and starring Ron Leibman.Hampton, William. "Theater Review. 'God Of Vengeance'" New York Times, August 10, 2002Coney Island Christmas, adapted from the short story “The Loudest Voice” by Grace Paley, was commissioned and first produced by the Geffen Playhouse in November 2012. Directed by Bart DeLorenzo the cast featured Arye Gross and Isabella Acres in this "Jewish Christmas show".Film and television
<mask> has written pilots and episodes of several television shows. In the 1980s, he was under contract to Norman Lear's company to develop television pilots, and was a producer-writer for the television series Baby Boom.He has adapted a wide range of material for film and television, both fiction (including Middlesex by Jeffrey Eugenides, Tom Wolfe’s A Man in Full, The Touchstone by Edith Wharton) and non-fiction (notably American Lion: Andrew Jackson in the White House by Jon Meacham, The Most Dangerous Book: The Battle for James Joyce’s “Ulysses" by Kevin Birmingham, and biographies of David O. Selznick, Robert Capa and Keith Moon), all of which are unproduced. The End of the Tour

Margulies adapted the memoir Although of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace, by David Lipsky, as a feature film screenplay, The End of the Tour. The film, released in 2015, was directed by James Ponsoldt and stars Jason Segel as Wallace and Jesse Eisenberg as Lipsky. The film received widespread positive reviews from critics, with a 93% "Certified Fresh" rating on Rotten Tomatoes,

Grants and Fellowships
Margulies has received grants from the National Endowment for the Arts, the New York Foundation for the Arts, the John Simon Guggenheim Memorial Foundation and a MacDowell Colony Fellowship. He was playwright-in-residence at the Sundance Playwrights Conference for three summers; Collected Stories was developed there, as was an early version of Sight Unseen. <mask> is an alumnus of New Dramatists and serves on the council of the Dramatists Guild of America.Selected Honors

 2019 American Academy of Arts and Sciences inductee
 2018 Thornton Wilder Prize
 2015 William Inge Theatre Festival Distinguished Achievement in American Theater Award
2014 PEN/Laura Pels International Foundation for Theater Award American Playwright in Mid-Career
 2005 American Academy of Arts and Letters Award in Literature
 2005 National Foundation for Jewish Culture Award in Literary Arts
 2000 Madge Evans-Sidney Kingsley Award for Outstanding Achievement in the Theatre by a Playwright
 2000 Pulitzer Prize for Drama

Notable works
 Luna Park, 1982
 Resting Place, 1982
 Gifted Children, 1983
 Found a Peanut, 1984
 What's Wrong with This Picture?, 1985
 The Model Apartment, 1988
 The Loman Family Picnic, 1989
 Pitching to the Star, 1990
 Sight Unseen, 1991
 July 7, 1994, 1995
 Collected Stories, 1996
 Dinner with Friends, 1998
 God of Vengeance, 2000
 Brooklyn Boy, 2003
 Shipwrecked! An Entertainment, 2007
 Time Stands Still, 2009
 Coney Island Christmas, 2012
 The Country House, 2014Long Lost, 2019

References

External links

 Program from the world premiere of Shipwrecked! at South Coast Repertory
 Program from the world premiere of Brooklyn Boy at South Coast Repertory
<mask> - Downstage Center'' interview at American Theatre Wing.org
<mask> interview on Collected Stories - “Mentors and protégés exist everywhere” at phindie.com
<mask> Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University. 1954 births
Living people
20th-century American dramatists and playwrights
Drama Desk Award winners
Pulitzer Prize for Drama winners
John Dewey High School alumni
State University of New York at Purchase alumni
Jewish dramatists and playwrights
American academics of English literature
Jewish American dramatists and playwrights
Yale University faculty
20th-century American non-fiction writers
21st-century American Jews

masks:
Donald Margulies
Margulies
Margulies
Theater Margulies
Margulies
Margulies
Margulies
Margulies
Margulies
Donald Margulies
Donald Margulies
Donald Margulies


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<mask> (often referred to by European missionaries as John Hormez or <mask>) (1760–1838) was the last hereditary patriarch of the Eliya line of the Church of the East and the first patriarch of a united Chaldean Church. After the death of his uncle Eliya XI in 1778, he claimed the patriarchal throne in 1780 and made a Catholic profession of faith. In 1783, he was recognized by the Vatican as patriarchal administrator and archbishop of Mosul. His career as patriarchal administrator was controversial, and was marked by a series of conflicts with his own bishops and also with the Vatican. Suspended from his functions in 1812 and again in 1818, he was reinstated by the Vatican in 1828. In 1830, following the death of the Amid patriarchal administrator Augustine Hindi, he was recognised by the Vatican as patriarch of Babylon of the Chaldeans and the Mosul and Amid patriarchates were united under his leadership. This event marked the birth of the since unbroken patriarchal line of the Chaldean Catholic Church.<mask> Hormizd died in 1838 and his successor Nicholas I Zaya was chosen by the Vatican, ending the centuries-old practice of hereditary succession. Sources
<mask> <mask>'s career, first as patriarchal administrator and finally as patriarch, was dogged by disputes. Most of the surviving contemporary accounts of his patriarchate are partisan, and must be used with care. <mask> <mask> himself wrote a polemical autobiography in Syriac, a fragment of which (breaking off in 1795) was translated into English by the Anglican missionary George Percy Badger and reproduced in his classic 1852 study of the Church of the East, The Nestorians and Their Rituals. His opponents responded with an equally intemperate history of the monastery of Rabban Hormizd under the headship of Gabriel Dambo of Mardin (1775–1832), which was published in a French translation by M. Brière in 1910 and 1911. Both texts provide spirited accounts of the intrigues that followed Yohannan's election as patriarch in 1780. Neither can be trusted on matters of interpretation, but if read judiciously they shed valuable light on the politics of the Chaldean Church in the late eighteenth- and early-nineteenth centuries and provide a wealth of factual detail omitted in many accounts of this period.The partisan spirit of the contemporary accounts was reflected in the texts of several later Chaldean authors, notably Giamil and Tfinkdji. Stephane Bello, writing in 1939 with access to the Vatican archives, was the first scholar to write a dispassionate account of <mask> Hormizd's career. He has been followed more recently by Habbi. Much of the recent scholarship on <mask> <mask> is in French or German, but convenient English summaries of his career were made by David Wilmshurst in 2000 and by Christoph Baumer in 2006. In 2003 Wilhelm Baum and Dietmar Winkler devoted three paragraphs to Yohannan Hormizd. Background
By 1760 the Church of the East had become divided into three patriarchates:
 The largest and oldest Patriarchal See was based at the Rabban Hormizd monastery of Alqosh, near Mosul. It spread from Aqrah up to Seert and Nisibis, covering the South rich plain of Mosul (it is known also as Eliya line).Since the 15th century, its Patriarchs belonged to the Bar Mama (or Abuna) family and they were appointed through a strict hereditary system: the old patriarch chose one of his nephews (or sometimes his young brother), and consecrated him as metropolitan bishop with right of succession. The nephew was known as natar kursi (designated successor). In 1760 the patriarch of this See was Eliya XI (1722-1778), the uncle of Yohannan Hormizd. In 1681, the patriarchal See of Amid became independent and made a formal union with Rome (it is also known as the Josephite line). This See included a few towns such as Amid and Mardin in the North-West Mountains, which are now in Turkey. In 1760 the patriarch was Joseph IV Lazar Hindi, a relative of Augustine Hindi. The patriarchate struggled with financial difficulties due to the tax burden imposed by the Turkish authorities.The third patriarchal See was located in Qochanis and extended into the North East Mountains (also known as the Shimun line). This patriarchal line began in 1553 when <mask> Sulaqa was consecrated bishop by the Pope, but soon became independent of Rome and still survives in the denomination today known as Assyrian Church of the East

Early life

According to his autobiography, <mask> <mask> was born in 1760 in Alqosh to an Assyrian family. His father, the deacon Hanna (Yohannan), was the brother of the Mosul patriarch Eliya XI Denha (1722–1778). The Vatican opened a correspondence with both the Mosul and Qochanis patriarchs in 1770. At this period hereditary succession (normally from uncle to nephew as the patriarchs themselves remained celibate) was in force in both patriarchates. Eliya XI had consecrated his nephew Ishoyahb a metropolitan in 1745 and had also bestowed upon him the traditional title natar kursya ('guardian of the throne'), thereby designating him his presumptive successor. Eliya XI and his nephew Ishoyahb both made Catholic professions of faith in 1771 in response to this overture from the Vatican, and Pope Clement XIV wrote to Eliya on 12 December 1772 to commend his zeal and to urge him to bring over his people to Catholicism.Earlier in the same year, however, Eliya had deposed Ishoyahb from his metropolitan rank, apparently alarmed by his ambition, and ordained the twelve-year-old Yohannan Hormizd, another nephew, as a deacon. Four years later, on 22 May 1776, Yohannan was consecrated a metropolitan by Eliya XI and named natar kursya in his turn. If his uncle had lived a few years longer, Yohannan's succession would probably have been assured, but the patriarch was among the victims of a plague which swept through the Mosul district in 1778, and died in the village of Alqosh on 29 April 1778. Irregular patriarchal succession, 1780–83
On the following day his nephews Ishoyahb and Yohannan both made Catholic professions of faith and were reconciled. Despite the late patriarch's preference the Latin missionaries supported Ishoyahb, who shortly afterwards succeeded his uncle as patriarch, taking the name Eliya XII (1778-1804), without open opposition from the young Yohannan. In May 1779, as soon as he had obtained his firman of office from the Ottoman civil authorities, Ishoyahb abandoned his Catholic profession of faith. The notables of Mosul, with the support of the Latin missionaries, deposed him and unanimously chose Shemon of Amid, the Chaldean metropolitan of Mardin (1758–88), as patriarch in his place.Shemon however declined to accept the honour, and Ishoyahb's opponents were obliged to turn instead to the young <mask> Hormizd, who had demonstrated his zeal for the Catholic cause since Ishoyahb's volte face by converting the Nestorians of the large Erbil villages of Aïnqawa, Armuta and Shaqlawa to Catholicism and encouraging them to withdraw their loyalty from his cousin. Yohannan was elected patriarch in 1780, and his supporters bribed the governor of Mosul to use his influence to obtain a firman from Constantinople, granting him authority over both the Chaldean Christians and the Nestorians. Yohannan then sent a profession of faith and a letter of submission to the Vatican. The Vatican was placed in a dilemma by this turn of events. If Yohannan's profession of faith was genuine, he might be the Catholic patriarch of Babylon the Vatican had long been hoping for, and his confirmation would be rapidly followed by the adoption of Catholicism by all the villages of the Mosul patriarchate. On the other hand, to confirm Yohannan's election would be to condone the distasteful practice of hereditary succession. There was also the possibility that Yohannan's submission was no more sincere than Ishoyahb's had been two years earlier.The Vatican's initial response was therefore to inform Raphael Terconuski, the superior of the Catholic mission at Mosul, that <mask> Hormizd's profession of faith appeared to be satisfactory, but that his election was to be considered null. On 18 February 1783, having considered further, the Sacred Congregation decided to appoint Yohannan archbishop of Mosul and administrator of the patriarchate of Babylon, granting him all the necessary powers to that end except the title and the insignia of the patriarch. Patriarchal administrator and archbishop of Mosul, 1783–1830

Honeymoon period, 1783–1801
For the next eight years Yohannan Hormizd seemed to justify the hopes placed in him. He lived on amicable terms with the Catholic missionaries and devoted his energies to the conversion to Catholicism of the villages under his authority. In May 1790, on the advice of the missionaries, he consecrated his nephew Shemon metropolitan, and in August of the same year sent him to the Zibar district, where he converted the Nestorian villages of Arena and Barzane. The following year he sent Shemon to Mengesh in the Sapna district, where he was equally successful. The high point of this honeymoon period came in February 1791, when the Vatican appointed him patriarchal administrator of the Amid patriarchate, recalling Lazar Hindi to Rome to leave him a free hand.This appointment led to strenuous protests from Lazar Hindi, his vicar-general Joseph Attar and the clergy of Amid, and on 3 February 1793 <mask> <mask>'s appointment was rescinded. At about the same time the Mosul missionaries began to report disquieting rumours about his performance of his duties. He was said, among other things, to have released a monk from his vows for a payment of 73 piastres, to have used liturgical books full of errors, to have visited families without a companion, and to have feasted in the house of a newly-wed couple. Although each of these incidents was relatively minor in itself, and could equally have been explained by mere imprudence rather than active corruption, their frequency was disturbing. For his part, Yohannan accused the missionaries of arrogance and mischief-making, and on his request the apostolic vicar of Baghdad, Fulgence de Sainte Marie, was sent to Mosul as apostolic vicar in 1796 to report on the situation. While his relations with the Vatican were cooling, <mask> <mask> also had to deal with the opposition of his cousin Ishoyahb, who continued to assert that he was the rightful patriarch. After Yohannan's irregular election in 1780 Ishoyahb withdrew to Amadiya, whose governor Isma'il gave him 'the Nestorian dioceses of the mountain' to govern.He made another Catholic profession of faith on 7 April 1783 in an attempt to regain the sympathies of the missionaries, and to preserve the patriarchate within his family consecrated his nephew Hnanisho metropolitan in 1784. Several years of bitter faction-fighting followed, in which the civil authorities in Baghdad held the balance between Muhammad, governor of Mosul, who supported Yohannan Hormizd, and Isma'il, governor of Amadiya, who sheltered Ishoyahb and his followers. In 1788 Yohannan's nephew Shemon was arrested on a visit to the village of Bir Sivi in the Zakho district on Isma'il's orders, and was only released by the joint efforts of the governor of Mosul and Sulaiman, governor of Baghdad. In 1792 Yohannan and his two brothers went to Amadiya on business, and were arrested, beaten and imprisoned for three and a half months by the Turkish authorities. Again, the governor of Baghdad intervened to secure their release. First clash with the Vatican, 1802
Yohannan's precarious relations with the Vatican survived a further test in 1801, only to sink further in 1802. In 1796 a delegation from the Malabar Christians arrived in Mosul and begged him to consecrate a bishop for them.Yohannan punctiliously wrote to the Vatican for guidance, but as Rome was then under French occupation he did not receive a reply, and in 1798 consecrated the Indian priest Paul Pandari as a bishop for the Malabar Christians. As many of the Malabar Christians were now in communion with the Syriac Orthodox Church, which had replaced the Church of the East as the main focus of loyalty among the Syrian Christians of India three centuries earlier, Yohannan tactfully appointed Pandari bishop 'of Mar Behnam', a celebrated West Syrian monastery near Mosul. The Malabar Christians informed the Vatican of Pandari's arrival in India in a letter of 17 January 1800, and Yohannan was asked to account for his actions. His explanation was accepted, and in a general consistory of 23 September 1801 the possibility of appointing him patriarch of Babylon was considered. Unfortunately for Yohannan, his position was immediately undermined by renewed complaints from a section of the Chaldean church. On this occasion his opponents, supported by the Latin missionaries, impugned his orthodoxy and accused him of embezzling monastic property. In 1802 the priest <mask> Mushe of Tel Isqof was despatched to Rome with letters demanding the dismissal of both Yohannan and his nephew Shemon, metropolitan of Amadiya.He had only sufficient funds to reach Saida in Syria, where he entrusted the letter to the missionary Leopold Sebastien, who was leaving for Rome. The letters do not seem to have produced any immediate effect, but doubtless added to the concern in the Vatican about Yohannan <mask>'s reliability. Increasing opposition, 1802–12

Some years later <mask> Hormizd faced another challenge to his authority from a Baghdad merchant named Gabriel Dambo, one of the most remarkable figures of the nineteenth century Chaldean church. A Chaldean Christian born in Mardin in 1775, Dambo had made sufficient money by middle age to be able to retire from business, and he decided to devote the rest of his life to the service of the Church. The once-thriving monastery of Rabban Hormizd near Alqosh had been abandoned for many years, and he dreamed of reviving its monastic life and restoring it to its former glory. He paved the way by giving free lessons in Baghdad to young Chaldean Christians in Arabic, grammar, logic and rhetoric, and after winning a formidable reputation as a teacher and scholar moved to Mosul. In 1808 he had no difficulty in persuading the Chaldean authorities and their Catholic missionary advisers to allow him to establish a seminary in the monastery of Rabban Hormizd.Before long he collected a number of pupils, who were vowed to poverty and celibacy, and was appointed lay superior of the seminary. An energetic and charismatic visionary, Gabriel had his own ideas of how things should be done, and had little patience with the leaders of the Chaldean Church. If the new seminary was to succeed it needed its own income, and

masks:
Yohannan VIII Hormizd
Hanna Hormizd
Yohannan
Yohannan
Hormizd
Yohannan
Hormizd
Yohannan
Yohannan
Hormizd
Yohannan
Yohannan
Hormizd
Yohannan
Yohannan
Yohannan
Hormizd
Yohannan
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Yohannan


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 Gabriel insisted, probably correctly, that a large proportion of the property then in the hands of the patriarchal family was originally owned by the monastery of Rabban Hormizd and should rightly revert to it. <mask> Hormizd, understandably, did not agree. This single issue would have been sufficient to poison relations between the two men, but there were other causes of friction as well. The new seminary had attracted men who disliked Yohannan Hormizd and wanted more vigorous leadership. The monks rallied around their superior and made no secret of their distaste for the patriarchal administrator.They were joined by the Catholic missionaries, who shared their admiration for Gabriel, and by a number of influential priests, notably <mask> of Tel Isqof and Yohannan of Alqosh. In 1809 the Vatican seriously considered the possibility of suspending <mask> Hormizd, and rumours that he had indeed been suspended were circulated by his opponents, eliciting a spirited letter of protest to the Vatican by his supporters on 15 October 1811. <mask> Hormizd's opponents were eventually able to win over the pasha of Mosul to their side, who briefly imprisoned him. The missionaries, led by the priest Joseph Campanile, immediately took steps to replace him, and Campanile on his own authority consecrated the priest Shemon Sayyegh bishop of Mosul. He was later reproved by the Vatican for this abusive consecration, and Augustine Hindi was ordered to send Shemon to Mosul merely as a priest. At the same time, learning of <mask> <mask>'s imprisonment, the Vatican appointed Augustine Hindi apostolic delegate and the priest Giwargis of Alqosh apostolic vicar of Mosul, 'during the absence of the said archbishop', on 4 October 1811. This decision sent a clear signal that the Vatican's patience with <mask> Hormizd was, for the moment, almost at an end.Suspension and Reinstatement, 1812–30
<mask> Hormizd was eventually ransomed by his supporters and returned to Mosul, where he had several of his opponents imprisoned. After a series of mutual recriminations, the Rabban Hormizd monks and the Catholic missionaries wrote jointly to the Propaganda calling for Yohannan's deposition, alleging that he was opposed to their order, that he incited the Kurds of Isma'il Pasha against them, and that he was endeavouring to lead the Chaldean proselytes back to Nestorianism. The Vatican was alarmed at these charges and on 15 February 1812 suspended Yohannan from his functions as archbishop of Mosul and patriarchal administrator and appointed Shemon Sayyegh apostolic vicar for Mosul and the priest Giwargis of Alqosh apostolic vicar for the patriarchate of Babylon. Both men were placed under the direct authority of Augustine Hindi, who was named apostolic delegate for the affairs of the patriarchate of Babylon. While this decision temporarily placed the two Catholic patriarchates under a single trustworthy authority, it was from the Vatican's point of view little more than a makeshift, as Hindi could never command the same prestige in the Mosul district as a member of the old patriarchal family. <mask> <mask>'s suspension lasted for six years. At first he refused to accept the validity of the Vatican's decision, and issued threats against his opponents.Eventually he decided to seek a reconciliation with them, and a meeting was held on 20 February 1818 at Alqosh, attended by a hundred clergymen and notables, in which he agreed to apologise in writing for his misdeeds. In return, the assembly decided to send a letter to the Vatican to ask for his suspension to be lifted. Unfortunately, these good intentions were frustrated, as the letter's courier was killed en route and the letter never reached its destination. The Vatican, ignorant of the rapprochement between Yohannan Hormizd and his opponents, was briefed on the affairs of the Chaldean Church early in 1818 by Campanile, who is unlikely to have placed a sympathetic construction on Yohannan <mask>'s previous record. The Sacred Congregation concluded that <mask> Hormizd had not taken his suspension seriously, and on 24 May 1818 it was renewed. The appointments of Augustine Hindi and Giwargis of Alqosh were renewed by briefs of 26 June 1818, and <mask> Hormizd was informed of the new sentence in a latter of 11 July 1818. Once again, Yohannan refused to accept the validity of the sentence, and for the next few years continued to assert his authority wherever he could, abetted by the civil authorities at Amadiya.The Rabban Hormizd monks refused to have anything to do with him and accepted the authority of Augustine Hindi (the colophon of manuscripts copied in the monastery at this period dutifully mention the patriarchal administrator Mar Augustine, not <mask>). Three monks of the monastery of Rabban Hormizd were consecrated metropolitan bishops at Amid by Hindi in March 1825: the future patriarch Joseph Audo for Mosul, Lawrent Shoa for Baghdad, and Basil Asmar for Amadiya. Two other bishops perhaps consecrated on the same occasion, Mikha'il Kattula and Ignatius Dashto, were sent to Seert and Mardin, traditional sees of the Amid patriarchate, but the other three returned to their home villages north of Mosul; Basil Asmar to Telkepe, Lawrent Shoa to Tel Isqof and Joseph Audo to Alqosh. There each of the three metropolitans began ordaining priests and deacons, in a direct challenge to Yohannan's authority. Meanwhile, the Vatican reconsidered the condemnation of <mask> Hormizd in the light of fresh information, and on 25 November 1826 publicly absolved him. At the same time, to restore the peace of the Chaldean Church, it urged the 66-year-old former patriarchal administrator to renounce his claims to the archdiocese of Mosul and to retire quietly. Yohannan, vindicated by the Vatican's absolution and supported by the local civil authorities, stubbornly refused to retire.Instead, he fought back against his opponents. In 1827, during the absence of the superior Gabriel Dambo in Rome, a number of monks in the monastery of Rabban Hormizd rebelled against its administrator <mask> Gwera, who enjoyed the support of the metropolitan Joseph Audo. <mask> Hormizd upheld the rebels, and was also able to have Basil Asmar expelled from Telkepe, forcing him to take refuge in Amid. On 3 April 1827, shortly after Basil's arrival, Augustine Hindi died at Amid and was buried in a cemetery outside the city's walls. His death ended the 146-year independent existence of the Amid patriarchate. Basil Asmar, who had endeared himself to the clergy and people of Amid, was appointed Hindi's successor as metropolitan of Amid in 1828, and the Vatican confirmed the appointment. Amid reverted to a metropolitan diocese of the Chaldean Church, and the Amid patriarchate came to an end.Basil's appointment required a bishop to be found for the see of Amadiya, and as Joseph Audo had failed to overcome the opposition of Yohannan's supporters to his appointment of metropolitan of Mosul, Gabriel Dambo and the Catholic missionaries agreed that he should be reassigned to Amadiya. Like Basil before him, however, he declined to trust his life to the good faith of Isma'il Pasha, and withdrew to Alqosh, where he continued to intrigue among the Chaldeans and with the local authorities of Mosul against Yohannan. As a result of these intrigues Yohannan was imprisoned for a third time by the Ottoman authorities, for four months. After Yohannan's release the charges made by his opponents were investigated by the Latin apostolic vicar Pierre-Alexander Coupperie, who travelled to Mosul to interview him. Yohannan was absolved of blame and restored to the exercise of his jurisdiction. Gabriel Dambo was then in Rome, to lobby more effectively against his rival, and he and his supporters declared Coupperie's decision invalid and insisted that they would not accept Yohannan's authority unless he was absolved personally by the pope. Coupperie therefore persuaded a number of influential Chaldeans to join him in a written appeal to the Vatican for Yohannan's reinstatement.Patriarch of Babylon, 1830–8

Couperrie died shortly afterwards, and was succeeded as apostolic vicar by his assistant Laurent Trioche, who was consecrated a bishop for the purpose by Yohannan and the metropolitan Lawrent Shoa of Kirkuk on the Vatican's instructions. Like his predecessor, Trioche took Yohannan's part, and in a consistory held in the Vatican on 5 July 1830 it was agreed that Yohannan should be relieved of the archdiocese of Mosul, confirmed as patriarch of the Chaldeans and awarded the pallium (the traditional symbol of the Vatican's recognition of his succession). The decision was communicated to <mask> Hormizd, now aged 74, in two papal bulls of the same date. Fifty years after his irregular succession to Eliya XI (d. 1778), <mask> Hormizd was finally recognised as patriarch of the Chaldean Church and awarded the title patriarch of Babylon of the Chaldeans. The suppression of the Amid patriarchate and the union of the Chaldean dioceses under the patriarch of Babylon in 1830 marked the birth of the modern Chaldean Catholic Church. The new patriarch was awarded the pallium in a ceremony held in Baghdad on 6 April 1834. Further troubles
According to Badger, <mask> Hormizd was unhappy with the thought of the unbroken succession of the Eliya line ending with his death, and made a curious bargain with the Nestorian church in an attempt to continue the succession.He ordained his nephew Mansur Sefaro a priest, and in 1831 sent him to the Nestorian patriarch Shemon XVII Abraham (1820–61), who consecrated him at Urmi and appointed him metropolitan over the Nestorians of Amadiya. The new metropolitan took the name Eliya, the traditional name of the Chaldean patriarchs before the schism of 1552 (Yohannan's own family), and shortly afterwards abandoned the pretence of being a Nestorian and was readmitted into the Chaldean church, ultimately becoming the first Chaldean bishop of Aqra in 1852. In spite of this account, it was presumably with the intention of excluding this nephew from being his successor that in 1837 Yohannan, aware that he had not long to live, designated Gregory Peter di Natale, metropolitan of Gazarta, as coadjutor and "guardian of the throne". The feud between Gabriel Dambo and <mask> Hormizd ended in 1832, when Alqosh was pillaged by Kör Muhammad, chief of the Soran Kurds of Rawanduz. Gabriel Dambo was among the hundreds of East Syrians killed by the Kurds, and was succeeded as superior of the monastery of Rabban Hormizd by Yohannan Gwera. Despite the death of his chief rival, the patriarch's troubles continued throughout the 1830s. The monks of the monastery of Rabban Hormizd still refused to acknowledge his authority, and were supported by the metropolitan Joseph Audo, who now claimed jurisdiction over the monastery on the grounds that it lay within his diocese of Amadiya.<mask> Hormizd retaliated by suspending Audo and a number of Rabban Hormizd monks, but this action had little effect. A rumour spread that a new Latin apostolic vicar had been appointed in Rome and was now on his way to Mosul, and the patriarch's enemies temporarily came into line to make a good first impression on this important official. But when after two months he had still not arrived, they resumed their duties in flat defiance of Yohannan's orders. One man only, a priest named Stephen, sent in his submission to the patriarch, and was appointed priest of Telkepe. The patriarch now sent the metropolitan Gregory Peter di Natale to Mosul, accompanied by a priest named Andrew to represent the apostolic vicar Laurent Trioche, to inquire into the conduct of the Rabban Hormizd monks. Joseph Audo thereupon retired to Amid, where he was welcomed by its metropolitan Basil, and the delegates condemned the obstinacy of the monks and returned to Baghdad. In the light of this vindication of the patriarch's behaviour, an attempt was made by the monastery's superior Yohannan Gwera to put his side of the story.He travelled to Rome, accompanied by the monks Mikha'il Jammala and Peter, and eventually obtained a papal audience. The response of the Vatican authorities to the monks' complaints was lukewarm. They were assured that their allegations would be investigated but were also censured for their disobedience. On 13 October 1837, conscious that he had not long to live, Yohannan designated as coadjutor and 'guardian of the throne' Gregory Peter di Natale, metropolitan of Gazarta, presumably with the intention of excluding his nephew Eliya from the patriarchal dignity. However, he did not promise the succession to his coadjutor, and in order to ensure that the hereditary principle would play no part in the selection of the next patriarch the Vatican appointed by a bull of 25 September 1838 Nicholas Zaya, metropolitan of Salmas, Yohannan's coadjutor with the right of succession. The reason given in the bull for this decision was the growing infirmity of the patriarch and the desirability of avoiding inconvenience and harm should the patriarchate suddenly become vacant. Zaya was Persian by birth, from Khosrowa, and as such could lay claim to the protection of the foreign consuls in Turkey.He had also been educated at the Propaganda, and it was hoped that after Yohannan's death he would loyally implement Vatican policy. Yohannan, meanwhile, had died a few weeks earlier, on 16 August 1838. His family, which had provided successive patriarchs since the middle of the fifteenth century, now renounced its hereditary right of succession but insisted on keeping the title Abuna as the family name henceforward. Nicholas Zaya duly succeeded <mask> Hormizd as patriarch, but the manner in which his succession had been arranged by the Vatican offended most of the Chaldean bishops, and Zaya's brief reign (1839–46) would prove to be as stormy as that of his predecessor. References

Sources

 Brière, M., 'Histoire du couvent de Rabban Hormizd de 1808 a 1832', ROC, 15 (1910), 4, 410–24;16 (1911), 2, 113–27; 3, 249–54; and 4, 346–55

 Hornus, J. M., 'Mémoire sur l'état actuel et l'avenir de la religion catholique et des missions lazaristes et protestantes en Perse par le Comte de Challaye, consul de France à Erzéroun' (Cahiers d'Études Chrétiennes Orientales 8-9 für 1970/73), Action Chrétienne en Orient, Strasbourg o. J., 79f. 85f. 102–109.148. Eastern Catholic bishops in the Ottoman Empire
Chaldean Catholic Patriarchs of Babylon
1760 births
1838 deaths
People from Alqosh
Assyrians of the Ottoman Empire
18th-century Eastern Catholic archbishops
19th-century Eastern Catholic archbishops
18th-century people of the Ottoman Empire
19th-century people of Ottoman

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Yohannan
Yohannan
Yohannan
Yohannan
Hormizd
Yohannan
Yohannan
Yohannan
Hormizd
Hormizd
Yohannan
Yohannan
Mar Yohannan
Yohannan
Yohannan
Yohannan
Yohannan
Yohannan
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<mask> (11 September 18256 August 1904) was an Austrian music critic, aesthetician and historian. Among the leading critics of his time, he was the chief music critic of the Neue Freie Presse from 1864 until the end of his life. He was a conservative critic and championed absolute music over programmatic music for much of his career. As such, he sided with and promoted the faction of Robert Schumann and Johannes Brahms in the so-called "War of the Romantics", often deriding the works of composers such as Franz Liszt and Richard Wagner. His best known work, the 1854 treatise Vom Musikalisch-Schönen (On the Musically Beautiful), was a landmark in the aesthetics of music and outlines much of his artistic and philosophical beliefs on music. Biography

<mask> was born in Prague (then in the Austrian Empire), the son of Joseph Adolph Hanslik, a bibliographer and music teacher from a German-speaking family, and one of Hanslik's piano pupils, the daughter of a Jewish merchant from Vienna. At the age of eighteen <mask> went to study music with Václav Tomášek, one of Prague's renowned musicians.He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse, where he was music critic until retirement. Whilst still a student, in 1845, he met with Richard Wagner in Marienbad; the composer, noting the young man's enthusiasm, invited him to Dresden to hear his opera Tannhäuser; here <mask> also met with Robert Schumann. In 1854 he published his influential book On the Beautiful in Music. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. From this point on, <mask> found his sympathies moving away from the so-called 'music of the Future' associated with Wagner and Franz Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay Jewishness in Music, Wagner attacked <mask> as 'of gracefully concealed Jewish origin', and asserted that his supposedly Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured <mask> in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser (whose name was originally to be Veit Hanslich).<mask>'s unpaid lectureship at the University of Vienna led in 1870 to a full professorship in history and aesthetic of music and later to a doctorate honoris causa. <mask> often served on juries for musical competitions and held a post at the Austrian Ministry of Culture and fulfilled other administrative roles. He retired after writing his memoirs, but still wrote articles on the most important premieres of the day, up to his death in 1904 in Baden. Views on music

<mask>'s tastes were conservative; in his memoirs he said that for him musical history really began with Mozart and culminated in Beethoven, Schumann and Brahms. He is best remembered today for his critical advocacy of Brahms as against the school of Wagner, an episode in 19th century music history sometimes called the War of the Romantics. The critic Richard Pohl, of the Neue Zeitschrift für Musik, represented the progressive composers of the "Music of the Future". Being a close friend of Brahms from 1862, <mask> possibly had some influence on Brahms's composing, often getting to hear new music before it was published.<mask> saw Wagner's reliance on dramatics and word painting as inimical to the nature of music, which he thought to be expressive solely by virtue of its form, and not through any extra-musical associations. On the other hand, he referred to extra-musicality when he asked, "When you play Chopin's mazurkas, do you not feel the mournful and oppressive air of the Battle of Ostroleka?" (<mask> 1848, p. 157). The theoretical framework of <mask>'s criticism is expounded in his book of 1854, Vom Musikalisch-Schönen (On the Beautiful in Music), which started as an attack on the Wagnerian aesthetic and established itself as an influential text, subsequently going through many editions and translations in several languages. Other targets for <mask>'s heavy criticism were Anton Bruckner and Hugo Wolf. Of Tchaikovsky's Violin Concerto, he accused composer and soloist Adolph Brodsky of putting the audience "through hell" with music "which stinks to the ear"; he was also lukewarm towards the same composer's Sixth Symphony. <mask> is noted as one of the first widely influential music critics.While his aesthetics and his criticism are typically considered separately, they are importantly connected. <mask> was an outspoken opponent of the music of Liszt and Wagner, which broke down traditional musical forms as a means of communicating something extra-musical. His opposition to "the music of the future" is congruent with his aesthetics of music: the meaning of music is the form of music. It is along these lines that <mask> became one of Brahms's champions and often pitted him against Wagner. For this reason, Brahms is often mistakenly positioned as being anti-Wagnerian himself, a historical interpretation that disregards Brahms's and Wagner's mutual admiration. Vom Musikalisch-Schönen

First published in 1854, On the Musically Beautiful is often referred to as the foundation of modern musical aesthetics. As such claims are typically overstated, it is probably best to consider it the codification of such notions of musical autonomy and organicism.These ideas proliferated in academia, in which he was the first professor of music history and aesthetics. Importantly, while this text certainly lays the theoretical groundwork for musical formalism, formal analysis is something that <mask> himself never did. Chapter 1: Aesthetics as Founded on Feelings

This chapter critiques the standing aesthetics of music, which <mask> refers to as the “aesthetics of feeling.” He cites the following authors to demonstrate “how deeply these doctrines [aesthetics of emotion] have taken root”: Mattheson, Neidthardt, J.N. Forkel, J. Mosel, C.F. Michaelis, Marpurg, W. Heinse, J.J. Engel, J.Ph. Kirnberger, Pierer, G. Schilling, Koch, A. André, Sulzer, J.W. Boehm, Gottfried Weber, F. Hand, Amadeus Autodidaktus, Fermo Bellini, Friedrich Thiersch, A. v. Dommer, and Richard Wagner.By ending his list of theorists with Wagner, he makes his primary critical target obvious; Wagner had recently published his own essay, Opera and Drama, in 1851, in which he demonstrates how his compositional technique expresses the feelings inherent in the content and form of poetry. In contradistinction, <mask> asserts the autonomy of music, writing, “The beautiful is and remains beautiful though it arouse no emotion whatever, and though there be no one to look at it. In other words, although the beautiful exists for the gratification of an observer, it is independent of him.”

Chapter 2: The Representation of Feelings is Not the Subject of Music

<mask> posits that since emotion is not present in the music (objective) but is dependent on the listener's interpretation (subjective) it cannot be the basis for an aesthetics of music. He does admit, however, that music may “awaken feelings,” but maintains that it cannot “represent” them. Chapter 3: The Beautiful in Music

<mask> writes, “The essence of music is sound and motion” and suggests that the proper basis for an aesthetics of music are “sonically moving forms.” Furthermore, he suggests that these forms extend, or grow, from a freely conceived musical theme. He writes,

“The initial force of a composition is the invention of some definite theme, and not the desire to describe a given emotion by musical means. Thanks to that primitive and mysterious power, whose mode of action will forever be hidden from us, a theme, a melody flashes on the composer’s mind.The origin of this first germ cannot be explained, but must simply be accepted as a fact. When once it has taken root in the composer’s imagination, it forthwith begins to grow and develop; the principal theme being the center round which the branches group themselves in all conceivable ways, though always unmistakably related to it. The beauty of an independent and simple theme appeals to our aesthetic feeling with that directness, which tolerates no explanation, except, perhaps, that of its inherent fitness and the harmony of parts, to the exclusion of any alien factor. It pleases for its own sake, like an arabesque, a column, or some spontaneous product of nature – a leaf or a flower.”

Chapter 4: Analysis of the Subjective Impression of Music

He distinguishes between the composer, musical work as an autonomous object, and the activity of the listener. When discussing the initial compositional conception he cites women as an example for why this process cannot be emotional, but must be intellectual. He writes, “Women by nature are highly emotional beings, [but] have achieved nothing as composers.” He acknowledges that composers do possess a highly developed emotional faculty but that in music it is not the “productive factor.” Furthermore, he asserts, “It is not the actual feeling of the composer” that evokes feelings in a listener, but “the purely musical features of a composition.” Regarding the listener, he includes a lengthy discussion of the science of hearing and its limitations. He concludes, “Those theorists who ground the beautiful in music on the feelings it excites build upon a most uncertain foundation, scientifically speaking, since they are necessarily quite ignorant of the nature of this connection, and can therefore, at best, only indulge in speculations and flights of fancy.An interpretation of music based on the feelings cannot be acceptable either to art or science.”

Chapter 5: An Aesthetic Hearing as Distinguished from a Pathological Hearing of Music

He identifies two modes of listening: active (“aesthetic”) and passive (“pathological”). The active listener listens to music to discover the method of composition, while to the passive listener music is merely sound. He writes,

“The most important factor in the mental process which accompanies the act of listening to music, and which converts it into a source of pleasure, is frequently overlooked. We here refer to the intellectual satisfaction which the listener derives from continually following and anticipating the composer’s intentions – now, to see his expectations fulfilled, and now, to find himself agreeably mistaken. It is a matter of course that this intellectual flux and reflux, this perpetual giving and receiving takes place unconsciously, and with the rapidity of lightning flashes. Only that music can yield truly aesthetic enjoyment which prompts and rewards the act of thus closely following the composer’s thoughts, and which with perfect justice may be called a pondering of the imagination.”

Chapter 6: Music in its Relation to Nature

<mask> suggests, “Melody is the ‘initial force,’ the life-blood, the primitive cell of the musical organism, with which the drift and development of the composition are closely bound up”; both melody and harmony are “achievement[s] of man.” Rhythm, however, and in particular duple meter, he believes is found in nature: “It is the only musical element which nature possesses, the first we are conscious of, and that with which the mind of the infant and the savage becomes soonest familiar.” He continues to posit that music is a product of the mind, having no precursor in nature. Even the music of a shepherd is not natural, he claims, since it was invented in the shepherd's mind, and the imitation of cuckoos in symphonies, for example, should not be considered music, since its function is not musical but poetic (i.e., to point to something outside of the music).Chapter 7: Form and Substance (Subject) as Applied to Music

<mask> concludes that the idea in music can only be purely musical (“Music consists of successions and forms of sound, and these alone constitute the subject”), and the value of a piece of music is determined by the relation between the idea (for example the theme) and the whole of the work. He writes,

“We cannot acquaint anybody with the ‘subject’ of a theme, except by playing it. The subject of a composition can, therefore, not be understood as an object derived from an external source, but as something intrinsically musical; in other words, as the concrete group of sounds in a piece of music. Now, as a composition must comply with the formal laws of beauty, it cannot run on arbitrarily and at random, but must develop gradually with intelligible and organic definiteness, as buds develop into rich blossoms.”

Works (German editions)
 <mask>, "Vom Musikalisch-Schönen". Leipzig 1854 (online version)
 <mask>, "Geschichte des Konzertwesens in Wien", 2 vol. Vienna 1869–70
 <mask>, "Die moderne Oper", 9 vol. Berlin 1875–1900
 <mask>, "Aus meinem Leben", 2 vol.Berlin 1894
 <mask>, "Suite. Aufsätze über Musik und Musiker". Vienna 1884

Compositions
 Milostná píseň pod Vyšehradem (Love song beneath Vyšehrad) for violin and piano, op.9

See also
 Aesthetics of music

References

Notes

Citations

Sources

Further reading
See  for an extensive bibliography
 Ambros Wilhelmer, "Der junge Hanslick. Sein 'Intermezzo' in Klagenfurt 1850-1852". Klagenfurt 1959
 Ludvová, Jitka. Dokonalý antiwagnerián <mask>. Paměti/Fejetony/Kritiky (Praha 1992).<mask>, "Censur und Kunst-Kritik," Wiener Zeitung, 24 March 1848, republished in his Sämtliche Schriften, vol 1, part 1, p. 157, Ed. Dietmar Strauß
 Christian Jung: Wagner und Hanslick. Kurze Geschichte einer Feindschaft. In: Österreichische Musikzeitschrift 67 (2012), p.. 14–21. Nicole Grimes et al., ed., Rethinking <mask>: Music, Formalism, and Expression, University of Rochester Press, 2013

External links

 Geoffrey Payzant and <mask> collection at University of Toronto Music Library
 <mask>, Internet Encyclopedia of Philosophy

Austrian music critics
Austrian musicologists
Austrian music journalists
Charles University alumni
German Bohemian people
Austrian people of German Bohemian descent
Czech Jews
Classical music critics
Writers from Prague
1825 births
1904 deaths
Wagner scholars
Burials at the Vienna Central Cemetery
University of Vienna faculty

masks:
Eduard Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Hanslick
Eduard Hanslick
Eduard Hanslick
Eduard Hanslick
Eduard Hanslick
Eduard Hanslick
Eduard Hanslick
Eduard Hanslick
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Eduard Hanslick


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<mask> (ca. 1653 – 7 February 1723) was an Italian composer, chiefly of operas. Born into a musical family, he became the cathedral organist of his home town of Brescia. In the 1680s he began composing operas for performance in nearby Venice. He wrote a total of 85 of them as well as 13 oratorios. His operatic style is noted for its development of arias accompanied by the orchestra and it shows some influence from the contemporary French opera of Jean-Baptiste Lully. Holden  (Viking, 1993)
Magazine de l'opéra baroque (in French)

Italian Baroque composers
Italian Baroque
1650s births
1723 deaths
Italian male classical composers
Italian opera composers
Male opera composers
Italian organists
Male organists
Musicians from Brescia
17th-century Italian composers
18th-century Italian composers
18th-century Italian male musicians
18th-century keyboardists
17th-century male musicians


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<mask> (, ; born April 22, 1943) is an American poet and essayist. She won the 2020 Nobel Prize in Literature, whose judges praised "her unmistakable poetic voice that with austere beauty makes individual existence universal". Her other awards include the Pulitzer Prize, National Humanities Medal, National Book Award, National Book Critics Circle Award, and Bollingen Prize. From 2003 to 2004, she was Poet Laureate of the United States. <mask> was born in New York City and raised on Long Island. She began to suffer from anorexia nervosa while in high school and later overcame the illness. She attended Sarah Lawrence College and Columbia University but did not obtain a degree.In addition to being an author, she has taught poetry at several academic institutions. Glück is often described as an autobiographical poet; her work is known for its emotional intensity and for frequently drawing on mythology or nature imagery to meditate on personal experiences and modern life. Thematically, her poems have illuminated aspects of trauma, desire, and nature. In doing so, they have become known for frank expressions of sadness and isolation. Scholars have also focused on her construction of poetic personas and the relationship, in her poems, between autobiography and classical myth. Glück is an adjunct professor and Rosenkranz Writer in Residence at Yale University. She splits her time between Cambridge, Massachusetts, and Montpelier, Vermont.Biography

Early life
<mask> was born in New York City on April 22, 1943. She is the elder of two surviving daughters of Daniel Glück, a businessman, and <mask> (née Grosby), a homemaker. Glück's mother was of Russian Jewish descent. Her paternal grandparents, Terézia (née Moskovitz) and <mask>, were Hungarian Jews from Érmihályfalva, Bihar County, in what was then the Kingdom of Hungary,  Austro-Hungarian Empire (present-day Romania); her grandfather ran a timber company called "Feldmann és Glück". They emigrated to the United States in December 1900 and eventually owned a grocery store in New York. Glück's father, who was born in the United States, had an ambition to become a writer, but went into business with his brother-in-law. Together, they achieved success when they invented the X-Acto knife.Glück's mother was a graduate of Wellesley College. In her childhood, Glück's parents taught her Greek mythology and classic stories such as the life of Joan of Arc. She began to write poetry at an early age. As a teenager, Glück developed anorexia nervosa, which became the defining challenge of her late teenage and young adult years. She has described the illness, in one essay, as the result of an effort to assert her independence from her mother. Elsewhere, she has connected her illness to the death of an elder sister, an event that occurred before she was born. During the fall of her senior year at George W. Hewlett High School, in Hewlett, New York, she began psychoanalytic treatment.A few months later, she was taken out of school in order to focus on her rehabilitation, although she still graduated in 1961. Of that decision, she has written, "I understood that at some point I was going to die. What I knew more vividly, more viscerally, was that I did not want to die". She spent the next seven years in therapy, which she has credited with helping her to overcome the illness and teaching her how to think. As a result of her condition, Glück did not enroll in college as a full-time student. She has described her decision to forgo higher education in favor of therapy as necessary: "…my emotional condition, my extreme rigidity of behavior and frantic dependence on ritual made other forms of education impossible". Instead, she took a poetry class at Sarah Lawrence College and, from 1963 to 1966, she enrolled in poetry workshops at Columbia University's School of General Studies, which offered courses for non-degree students.While there, she studied with Léonie Adams and Stanley Kunitz. She has credited these teachers as significant mentors in her development as a poet. Career
While attending poetry workshops, Glück began to publish her poems. Her first publication was in Mademoiselle, followed soon after by poems in Poetry, The New Yorker, The Atlantic Monthly, The Nation, and other venues. After leaving Columbia, Glück supported herself with secretarial work. She married Charles Hertz Jr. in 1967. In 1968, Glück published her first collection of poems, Firstborn, which received some positive critical attention.In a review, the poet Robert Hass described the book as "hard, artful, and full of pain". However, reflecting on it in 2003, the critic Stephen Burt claimed that the collection "revealed a forceful but clotted poet, an anxious imitator of Robert Lowell and Sylvia Plath". Following the publication, Glück experienced a prolonged case of writer's block, which was only cured, she has said, after 1971, when she began to teach poetry at Goddard College in Vermont. The poems she wrote during this time were collected in her second book, The House on Marshland (1975), which many critics have regarded as her breakthrough work, signaling her "discovery of a distinctive voice". In 1973, Glück gave birth to a son, Noah. Her marriage to Charles Hertz Jr. ended in divorce, and in 1977 she married John Dranow, an author who had started the summer writing program at Goddard College. In 1980, Dranow and Francis Voigt, the husband of poet Ellen Bryant Voigt, co-founded the New England Culinary Institute as a private, for-profit college.Glück and Bryant Voigt were early investors in the institute and served on its board of directors. In 1980, Glück's third collection, Descending Figure, was published. It received some criticism for its tone and subject matter: for example, the poet Greg Kuzma accused Glück of being a "child hater" for her now anthologized poem, "The Drowned Children". On the whole, however, the book was well received. In The American Poetry Review, Mary Kinzie praised the book's illumination of "deprived, harmed, stammering beings". Writing in Poetry, the poet and critic J.D. McClatchy claimed the book was "a considerable advance on Glück's previous work" and "one of the year's outstanding books".That same year, a fire destroyed Glück's house in Vermont, resulting in the loss of most of her possessions. In the wake of that tragedy, Glück began to write the poems that would later be collected in her award-winning work, The Triumph of Achilles (1985). Writing in The New York Times, the author and critic Liz Rosenberg described the collection as "clearer, purer, and sharper" than Glück's previous work. The critic Peter Stitt, writing in The Georgia Review, declared that the book showed Glück to be "among the important poets of our age". From the collection, the poem "Mock Orange", which has been likened to a feminist anthem, has been called an "anthology piece" because of its frequent inclusion in poetry anthologies and college courses. In 1984, Glück joined the faculty of Williams College in Massachusetts as a senior lecturer in the English Department. The following year, her father died.The loss prompted her to begin a new collection of poems, Ararat (1990), the title of which references the mountain of the Genesis flood narrative. Writing in The New York Times in 2012, the critic Dwight Garner called it "the most brutal and sorrow-filled book of American poetry published in the last 25 years". Glück followed this collection with one of her most popular and critically acclaimed books, The Wild Iris (1992), which features garden flowers in conversation with a gardener and a deity about the nature of life. Publishers Weekly proclaimed it an "important book" that showcased "poetry of great beauty". The critic Elizabeth Lund, writing in The Christian Science Monitor, called it "a milestone work". It went on to win the Pulitzer Prize in 1993, cementing Glück's reputation as a preeminent American poet. While the 1990s brought Glück literary success, it was also a period of personal hardship.Her marriage to John Dranow ended in divorce in 1996, the difficult nature of which affected their business relationship, resulting in Dranow's removal from his positions at the New England Culinary Institute. Glück channeled her experience into her writing, entering a prolific period of her career. In 1994, she published a collection of essays called Proofs & Theories: Essays on Poetry. She then produced Meadowlands (1996), a collection of poetry about the nature of love and the deterioration of a marriage. She followed it with two more collections: Vita Nova (1999) and The Seven Ages (2001). In 2004, in response to the terrorist attacks of September 11, 2001, Glück published a chapbook entitled October. Consisting of one poem divided into six parts, it draws on ancient Greek myth to explore aspects of trauma and suffering.That same year, she was named the Rosenkranz Writer in Residence at Yale University. Since joining the faculty of Yale, Glück has continued to publish poetry. Her books published during this period include Averno (2006), A Village Life (2009), and Faithful and Virtuous Night (2014). In 2012, the publication of a collection of a half-century's worth of her poems, entitled Poems: 1962–2012, was called "a literary event". Another collection of her essays, entitled American Originality, appeared in 2017. In October 2020, Glück was awarded the Nobel Prize in Literature, becoming the sixteenth female literature laureate since the prize was founded in 1901. Due to restrictions caused by the COVID-19 pandemic, she received her prize at her home.In her Nobel lecture, which was delivered in writing, she highlighted her early engagement with poetry by William Blake and Emily Dickinson in discussing the relationship between poets, readers, and the wider public. Family
<mask>'s elder sister died young before Glück was born. Her younger sister, Tereze (1945–2018), worked at Citibank as a vice president and was also a writer, winning the

masks:
Louise Elisabeth Glück
Glück
Louise Glück
Beatrice Glück
Henrik Glück
Glück