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Odd things happen in the face of the recognizable: Trees grow up inside and through a New York State farmhouse (One Shoe Off)..." Ben Brantley in reviewing Birth and After Birth for The New York Times, observed "The suggestion is of a natural world that thwarts and ultimately devours the ambitions and pretensions of the civilized. Howe would develop in later works, sometimes artfully (Coastal Disturbances), sometimes clumsily (One Shoe Off), but always in a style that was distinctively her own." Howe noted about her time in Paris: "The most profound thing that happened to me that year... That exploded me all over the place." Ionesco, Beckett and Pirandello are still her heroes.

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Tina Howe (born November 21, 1937) is an American playwright.

She is the daughter of journalist Quincy Howe and was raised in a literary family.

Over a career spanning more than three decades, Howe's best-known works are Painting Churches, Coastal Disturbances and Pride's Crossing.

She is the granddaughter of biographer Mark Antony De Wolfe Howe and the great-granddaughter of the first Episcopal Bishop of Bethlehem, Pennsylvania.

A Curtain Up reviewer noted that Howe "explained in her author's note for the play's premiere at the Shakespeare Festival, her large cast of characters was created to provide directors and producers with endless staging possibilities." In her note in the Script (published by Samuel French), Howe wrote: "It is my hope that any group wanting to present 'Museum' use the large cast size as a challenge and not as a restriction.

The play was wriiten to serve the versatility of actors." The Art of Dining was first presented Off-Broadway at the Joseph Papp Public Theater in December 1979, directed by A. Antoon and starring Kathy Bates and Dianne Wiest, who won the 1980 Clarence Derwent Award and Obie Award.

Painting Churches is one of her most critically successful works, winning the Outer Critics Circle Award for best Off-Broadway play in 1984.

Howe’s parents and grandmother were essential to her success as a writer.

Howe's family focused on reading and writing: "Thanksgivings and family occasions were always about, 'What are you reading, what are you writing, what are you working on, what poetry are you interested in? Bigsby wrote that "art is plainly a central point of reference" for Howe, noting Painting Churches and Coastal Disturbances, and also states that "food and consumption" are important.

'" Her grandfather passed his love of literature on to his sons and daughters, and they did the same. He believes that she has a "commitment to experimentation" and writes that she has said that she is "firmly entrenched in the Absurdist tradition." The Curtain Up reviewer of Coastal Disturbances wrote of Howe's work: "Like all of Howe's work, the play's charm stems from its quirky characters.

When Howe was ill with hepatitis, her father visited her every day in the hospital, reading James Joyce's Ulysses to her during his lunch break. In this case joie de vie, despair, love, lust, anger and fear come and go like the waves hitting the shore in foamy bursts or gentle ripples." Writing in the Sarah Lawrence Magazine, Celia Mc Gerr Regan described Howe: "Howe developed a voice that has been variously described as farcical and absurd, impressionistic and airy, graceful and perceptive, lyric and literate, vivid and language-driven, whimsical and demented.


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