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Here's Cyndi Williams' new play, Fish: an evocation of people and situations like the psychic furniture of a darker David Lynch film.

Tim Miller Fights to Stay in the U.S. With the Man He Loves

In the Earth and Sky Acting Co.'s 8 Tracks (No Disco), john daniels, jr. has conjured the Seventies rock world of hot chicks, backseat lovin', and sentimental ballads via a spate of endless musical numbers and ill-conceived poems and skits.

"Sharon Bridgforth's works aren't meant to be read silently," Suzy Spencer writes. "Some folks would say that's like eating barbecue without the sauce. But if it's good barbecue, you can do without the sauce because it has plenty of flavor on its own."

The paperback reissue of Steve Erickson's The Sea Came In at Midnight prompts a reflection on his writing.

Guide to Summer Films

Details of the Bradley Settlement are finally made public and opened up to debate; Bill Spelman announces that he will not run for re-election to Place 5.

The FronteraFest 2000 Long Fringe round-up continues with Robert Faires' review of SLABBER, by Lisa D'Amour.

Texas Platters

City council elections must be coming up soon...

Austin writer Neal Barrett Jr.'s latest mind-over-matter comic thriller, Interstate Dreams, "has an oddly disorienting effect," Chronicle reviewer Mike Shea writes.

Our readers talk back.

Hey, who put a vegetarian in my aquifer?

Is "progress" an unconscious compulsion?

Magician turned sitcom star Harry Anderson returns to Austin at Palmer Auditorium this weekend, and his former partner and cohort, Austin author Turk Pipkin, looks back as he looks forward to reuniting with his old pal.

Film director Richard Linklater interviews Bob Ray, the director of the new Austin-made movie Rock Opera, about the Austin Film scene over the past 10 years.

The Haunting

Moving Violations

I Know This Much Is True

A World Between

All About Eve (1950)

Flipping Your Whigs