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Homebody/Kabul: Final Revised Version, by Tony Kushner
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Review
“The playwright of ideas compels us to look afresh at tinderbox issues in a feverish search for understanding the near unsavable world of Homebody/Kabul. It’s about desolation and love in land-mined places, private agony and public squalor, fathers and daughters, the Babel of language and lost civilizations, disintegrating, rotting cultures, sordid Western values and furious opposites, murderers and fanatics, opium highs and tranquilized lives lived out in disgust and self-obliteration. It’s about travel in the generous, best sense of the word—travel of the exploding, despairing mind and soul. To where? A place where warring people might one day meet, where steps can be relearned and the meaning of words reborn. The voice of yearning within Homebody/Kabul has now become more urgent, as if time were running out in sickness of heart and soul. Name me a better play of our time—for our time.” –John Heilpern, New York Observer“Tony Kushner’s searching epic of ideas restores lost connections between theater, thinking and current events. Perhaps no one but Kushner could provide such compelling guidance through the devastation of Kabul, in all its blasted complexity.” –Adam Feldman, Time Out New York“Of course, we’ve come to expect celestial wordplay and cosmically elevated thoughts from Kushner, author of A Bright Room Called Day, Slavs! and the Pulitzer Prize- and Tony Award-winning opus Angels in America. We’ve also come to expect plays that aren’t neat and tidy, that force you to engage rather than passively absorb and don’t let you race home in time to catch the eleven o’clock news…Few, if any, modern English-language playwrights of ideas can match Kushner’s intellectual sweep, his subtle but razor-edged sense of humor and his gift for peeling back layers of character until we finally see the naked human within. Even fewer can equal his fiery moral passion or sheer gutsiness. With Homebody/Kabul Kushner has dared to walk through a contemporary minefield, a dramatic terra incognita, without the benefit of a Baedeker to guide him, and emerged intact on the other side with a powerful story to tell.” –Reed Johnson, Los Angeles Times“Searing…Kushner’s use of language and ideas continues to make us think about the deeper questions…a masterful conglomerate of words, ideas, and history.” –Mary Houlihan, Chicago Sun-Times“Brilliant…this is a play for those who are interested in the root causes that preceded September 11, for those who can see through the fog of patriotism to the finer distinctions, who are finally ready to ask how on earth do we get out of this godforsaken place, who can bear to contemplate the thought that we have participated to some extent in our own tragedy.” –James Reston Jr., American Theatre“Kushner, a writer who is always on high alert to humanity as well as history, has, in the Homebody, created a character—an ‘impassioned, fluttery, doomed’ character—who is timeless as well as timely.” –Nancy Franklin, New Yorker“Homebody/Kabul is a welcome payoff for all who’ve been waiting a decade for a worthy follow-up to Kushner’s landmark Angels in America. Kushner’s plunge into the murky whirlpools of Afghan history, culture, and politics is astonishing in its intellectual scope. It is also fierce in its dramatic engagement with complex realities and deeply humane. Kushner has led and provoked our minds as richly as he’s engaged our sympathies.” –Robert Hurwitt, San Francisco Chronicle“Dazzingly written, insightful and timely. The playwright’s generous viewpoint is liberal and progressive. His language is rich, his canvas is vast and his storytelling dynamic.” –Michael Sommers, Newark Star-Ledger“Homebody/Kabul is a rich and intelligent piece.” –Peter Brook“A richly interesting play…most American dramatists look inwards. Tony Kushner has always gazed outwards. And not the least remarkable fact about Homebody/Kabul, written well before the events of last September, is that it attempts to embrace and explain the history, culture and ethos of Afghanistan.” –Michael Billington, The Guardian (UK)
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About the Author
Tony Kushner’s plays include Angels in America; Hydriotaphia, or the Death of Dr. Brown; The Illusion, adapted from the play by Pierre Corneille; Slavs!; A Bright Room Called Day; Homebody/Kabul; Caroline, or Change, a musical with composer Jeanine Tesori; and The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. He wrote the screenplays for Mike Nichols’s film of Angels in America and for Steven Spielberg’s Munich and Lincoln. His books include The Art of Maurice Sendak: 1980 to the Present; Brundibar, with illustrations by Maurice Sendak; and Wrestling with Zion: Progressive Jewish-American Responses to the Israeli-Palestinian Conflict, co-edited with Alisa Solomon.Among many honors, Kushner is the recipient of a Pulitzer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award, two Oscar nominations, and the Steinberg Distinguished Playwright Award. He is a member of the American Academy of Arts and Letters. In 2012, he was awarded a National Medal of Arts by President Barack Obama. He lives in Manhattan with his husband, Mark Harris.
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Product details
Paperback: 172 pages
Publisher: Theatre Communications Group; Revised, Subsequent edition (February 3, 2005)
Language: English
ISBN-10: 1559362391
ISBN-13: 978-1559362399
Product Dimensions:
5.4 x 0.4 x 8.5 inches
Shipping Weight: 8 ounces (View shipping rates and policies)
Average Customer Review:
3.2 out of 5 stars
17 customer reviews
Amazon Best Sellers Rank:
#167,439 in Books (See Top 100 in Books)
Although some readers may be disappointed the Tony Kushner's latest play is not at all similar to his first great play, ANGELS IN AMERICA, it is one of the best plays of the decade. Kushner begins with a character who is drawn to travel to Afghanistan where she disappears. Her husband and grown daughter arrive in Kabul under the Taliban to find their wife/mother. They never do find her, but instead are exposed to life in Afghanistan under the Taliban -- a country retaining aspects of its great history, but living in a present of oppression and fear. Through this, Kushner explores the West's culpability in the tragedy of Afghanistan, the ability of the human spirit to survive under the worst possible circumstances, and the need on both sides to truly experience and understand the other. The play is filled with Kushner's trademark style -- a Brechtian, cinematic structure -- and lyrical flights of language, rich characterizations, and fascinating, disturbing ideas about a part of the world few Americans understood or knew much about prior to the tragedies of September 11. Now, more than ever, this play raises some of the most important questions of our time.
I praise courage, the will to say the truth about relations between the Western bWordl ando the Easterns, with al the west madness and superficiality and the eastern madness about the possession of the absolute truth
Good
There are points to be made and understandings to be gained from this play but it is wordy, convoluted, and difficult.
I had to read it for a class. It was O.K. At times it grabbed my interest more than I thought it would. It just wasn't the type of literature that I really enjoy and I found the writing hard to follow sometimes in the first act -- it was an intentional choice by the author to make a point, but still hard to follow. Perhaps if I had heard it spoken, since this is a play, it would have made more sense. While it did have many underlying themes I prefer something a little less pendantic.Also, it was written before 9/11 so the author chose to write a long afterward about remarks in the play about how the Taliban would be coming to the U.S. She wrote what she wrote. I didn't think she needed to write an explanation/politically correct apology.
After a very long and really absurd monologue by the Homebody at home, the story takes a steep curve and takes you to a torn up Afganistan in Taliban under the Taliban regime. A clash of cultures in optima forma.
Just so depressing and so long and boring. And I'm a Kushner fan. But I was not a fan of this.
Some people believe in reincarnation. I don't but for those who do, here is some evidence to support your case/cause. Kushner can write a pretty line, but here we have further evidence that we have a talented writer in search of a genre. Why America produces playwrights with the desire to tell the story of mankind is hard to explain. Russians don't, so sprawl alone cannot be the answer. There's O'Neill, Rice, the mature Williams, Miller: they all used the stage to explain the universe. On occasion they wrote a decent play. Kushner's writing is so good that critics overlook the fact that he can't write a play. Four hour epics don't cut it. This play opens with an arresting monologue which, as delivered in New York, was fascinating and well-worth the price of admission. The so-called play that takes up the rest of the evening is disappointing to say the least. Like Elmer Rice, there is a lively mind at work here, with huge theatrical ambitions, trying to write down everything that pops into his head. The result is a mediocre little drip into the sand of time.
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