Works
Her first work was the play Vegetable Medley (1985, Soho Repertory Theater, New York and Boston Center for the Arts, Boston, Massachusetts), an experimental work fusing elements of comedy and melodrama in a highly poeticised language. Her first novel, Give My Heart Ease (1989), received the New American Writing Award and was translated into Slovenian as Pomiri mi srce. Admired by some critics, others found its frank depiction of an abusive sexual relationship disturbing.
Her 1993 novel, Music for Glass Orchestra, garnered much critical acclaim for its wildly beautiful, surrealistic style. Set in Paris, it contains a wide-ranging discourse on the music of J.S. Bach, with special attention to the Sonatas and Partitas for Solo Violin. Her first collection of poetry, Elysian Sonnets and Other Poems (1990) was published as a chapbook in Paris.
In 1995 Andreacchi was a collaborator in the project Violin Music in the Age of Shopping, a work by avant-garde composer and violinist Jon Rose. For her contribution Andreacchi was made an Honorary Fellow of the Rosenberg Foundation (Sydney, Australia).
The novel Scarabocchio (1995), an architecturaly adventurous ‘inverted fugue’, is based on Goethe’s Italian Journey, and continues the discussion of Bach through the character of ‘Barton Beale’, a lightly fictionalized Glenn Gould. The short novel Poetry and Fear (2001) is set in the Berlin opera world, and uses the myth of Orpheus to explore themes of love and loss. Recent works show an increased emphasis on Christian spiritual themes. A continued interest in the culture of the far east is reflected in Two Brothers (2007), a version of the Korean pansori tale Heungbu and Nolbu.
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Famous quotes containing the word works:
“‘Tis too plain that with the material power the moral progress has not kept pace. It appears that we have not made a judicious investment. Works and days were offered us, and we took works.”
—Ralph Waldo Emerson (1803–1882)
“I divide all literary works into two categories: Those I like and those I don’t like. No other criterion exists for me.”
—Anton Pavlovich Chekhov (1860–1904)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)