this community. and you started writing that when you were in college. yeah. hinojosa: so did you ever imagine, yeah, it s going to end up on broadway, or was that just like an illusion? oh, i imagined it! ( laughing ) i mean, you wouldn t write it if you didn t feel like it was. it was worth something, but i imagined it in the way that you imagine being a jedi when you are three years old, you know? it s in the realm of possibility, and sure, maybe one day. but you know, i just. i knew that i wanted to write, i knew that i wasn t good at anything else, and i just. i knew there weren t enough musicals to keep me employed as a latino actor if i wanted to go into theater. and i. and i just sort of started writing everything i d always wanted to see in a musical, musically speaking. just hip hop music and latin music and all the stuff i d sort of grown up with. hinojosa: and you were able to translate that. what i love is that you had these images of broadway, and you
next encore booknotes. jill krementz was a guest on booknotes in 1997 to talk about her book the writer s desk a collection of authors and photos photos. c-span: jill krementz, photographer, you have a book out called the writer s desk. what s it all about? guest: it s a collection of my photographs over it period of 30 years of writers and i photographed over 1500 rider so of course it s not all the writers. my favorite pictures of a lot of the writers at their desks but they are all writers that there had desks or near their desks or behind their desks. somewhere there s a desk in the picture. literally or figuratively. c-span: why did you pick this for the covert? guest: i suppose because it s one of my favorite photographs. i think it s pretty recognizable now so people would know it was my book and because i think that it is a picture about a writer. it s a picture about a writers place and i think you feel looking at that picture that of course this is where she
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Silences that close us off, refusing connection, shoring up the ego at others’ expense those are dead silences. But the letting-go sort, the silences that hold space or keep vigil for someone else? They are alive.