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My plays are organized into full-lengths, one-acts, and ten-minutes. I've included a plot summary, cast and production requirements, and script history. Everything has been produced or published, or both.

I pulled a monologue from each play to give you a sense of my writing. You're welcome to use them to audition. If you like what you see, contact me and I'll e-mail the script to you.

I started writing essays to amuse my friends and make it through yet another workday in a basement cubicle. Some have since been published.

 

 
3

. . . What’s it like staying in a room for ten days? To look out the window once, when your roommate’s curtain is drawn, only to see a ventilation shaft? To get used to the chill of the IV fluid creeping up your arm, the loss of appetite, loss of thirst till you start to relish it after a while? It will seem so alien to you afterward that when you return for blood work you’ll stop by the room again to convince yourself that, yes, it’s actually connected to a corridor and a lobby that take you outside. At the time, the light switch wasn’t just a light switch but the way the nurse signified morning, which meant only that it was time to draw blood, and you adjusted the bed to its “day” position knowing you hadn’t slept. It wasn’t just the periodic in-and-out to check on your roommate, the occasional alarm in a far-off room, the weirdness of trying to sleep in the same position after not moving all day. It was your own body signaling rebellion, twitching every few hours. You couldn’t figure out why it happened, that spasm, the sharp intake of breath, the half-realized suspicion in the dark that maybe – could it be? – you’d stopped breathing? That you’d actually been . . . gone? Impossible. You’re just in a strange room with a clouded mind and an open door with shadows lit by the pale fluorescents outside, all of it a cauldron heating your fears. Still, you find that you’re standing watch over yourself, and though you soon lose track of the days, the moments of your stay remain somewhere jumbled in your mind.

You always hoped for the same nurse for the morning blood draw, the one with the sun-freckled skin, bleached hair and warm smile who told you about sailing the sound off Long Island. The idea of tacking back and forth in a fiberglass shell only to turn around and go back again had always struck you as a waste, and reminiscing about it doubly so, but now you couldn’t get enough of it. The boat was in Guilford. Or maybe she was in Guilford and the boat docked elsewhere. You were foggy on the details. In fact, you never learned her name. But she talked to you as if you weren’t half stupid on drugs and shared something with you that took place outside that involved things like the sun and breeze and escape mixed together, and you soon became grateful for weekend sailors and cheap beer and plans hatched during winter to finally win the such-and-such race at the local marina. Somewhere out there it was August, and a crew was leaning back on plastic chairs under an umbrella, shirts damp, necks red, bodies still holding for a while the memory of water. Who could believe it? Not you – not from bed, anyway – but if you could you would’ve raised a glass to them anyway.

You started marking time by counting your nurse’s shifts. You wept in front of her when you had another setback and wondered if you’d ever leave. As you confessed this you didn’t recognize the crack in your voice, the sound pitched so high and thin. You were naked in front of her in ways you never were in front of yourself, and even now, years later, you can’t imagine that room for long without seeing her pull up a chair after you finally had surgery, writing notes in your chart.

“I’m off for a few days,” she said, smiling. “Hope I don’t see you again.”

She didn’t . . .

 

I was on the Leonard Lopate Show on WNYC to discuss my essay "The Size of the Room." Start the player below at 25:55 or read the entire essay.

 

Published in The Saint Ann's Review, Fall 2009

 

 

4

LIZ: Couples find, as they get older, they share different things. A past.

ETHAN: What past would that be? Whose disappointments or desires, yours or mine? (Pause. He shrugs.) Why talk about it? What good are words? Have they won a war, boiled water, paid taxes, graded papers, fathered a child, or fed him, or saved him, or called him back? (He shakes his head.) Less than that. Half that. Half the smallest thing you can imagine. Speeches at a lectern. Discussions in a car. Guesses after the fact. All this palm reading sacrifice-the-animal up-to-your-elbows-in- viscera desperate for a sign to grant some modicum of intelligence to our cries. What for!? Talking might be worth it if we could use something besides words! Ha ha! What nonsense. That we can sit here. Share our views on the afterlife or what our son was doing or our marriage or the view or the temperature or whether we really did see a sign for an inn and at the end of it all we’re still stuck in this god damned car! You there. Me here. Our son — Our son, Liz.

(He puts his head in his hands. Silence.)

LIZ: Maybe we talk so people — so they know we’re alive.

ETHAN: I see my hand. Watch my breath on the windshield. But ask a question. Something you ask when you’re five and should know when you’re forty. Why am I here one day to the next? Why him and not me? Why can we go forward but not back? For the first time in my life, I don’t know. What good are my books, the insights I give my students, when I can’t answer those simple questions? I know I’m alive, Liz. And that’s about it. And sometimes it — it isn’t enough. (Silence. He wipes his brow with a bandana.) Nothing like an outburst to fog up the windows. See any lights?

LIZ: No.

ETHAN: No sound? No car? I thought for sure by now. I’d – I’d like to see where we are. That’s not too much to ask.

LIZ: You’re not doing well.

ETHAN: I’m fine.

LIZ: You sure?

ETHAN: Why do you ask?

LIZ: You finished balling up your winter hat and moved on to your handkerchief.