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TWO NOVELISTS, TWO RADIO SHOW HOSTS, ONE GREAT TIME
Craig and his wife, novelist Elisa Lorello, appeared recently on the Yellowstone Public Radio program Resounds, hosted by Montana arts impresarios Anna Paige and Corby Skinner. During a half-hour conversation, they discussed their respective roads to publication, how they met, how they later became a couple, and something that they'd been holding close for a while: they've written a novel together. Want to find out more? Click the link below.
Craig Lancaster and Elisa Lorello on Resounds.
Craig and his wife, novelist Elisa Lorello, appeared recently on the Yellowstone Public Radio program Resounds, hosted by Montana arts impresarios Anna Paige and Corby Skinner. During a half-hour conversation, they discussed their respective roads to publication, how they met, how they later became a couple, and something that they'd been holding close for a while: they've written a novel together. Want to find out more? Click the link below.
Craig Lancaster and Elisa Lorello on Resounds.
Craig's featured work
READING HEMINGWAY IN YELLOWSTONE
In March 2011, Mark Miller, a historian and scholar based in Bozeman, Montana, invited Craig to write about a seminal moment in his literary education: a summer trip to Yellowstone National Park in 1987, when he was seventeen years old.
An excerpt:
"I’d discovered Hemingway the previous spring, when I was assigned to read A Farewell to Arms by my honors English teacher, Janelle Eklund. I hadn’t held out much hope for it. Hemingway struck me as hopelessly rooted in an era that had nothing to do with me or my life, a name on the spine of books in my parents’ house that I’d never seen cracked. It was only after I did the work of crawling inside the book that I saw and appreciated Hemingway’s genius—the spare, almost parched, approach to language, in which simple words built simple sentences that stacked up into simple paragraphs, the sum of which was not simple at all."
You can read the entire post (and see early versions of the covers for 600 Hours of Edward and The Summer Son) here.
In March 2011, Mark Miller, a historian and scholar based in Bozeman, Montana, invited Craig to write about a seminal moment in his literary education: a summer trip to Yellowstone National Park in 1987, when he was seventeen years old.
An excerpt:
"I’d discovered Hemingway the previous spring, when I was assigned to read A Farewell to Arms by my honors English teacher, Janelle Eklund. I hadn’t held out much hope for it. Hemingway struck me as hopelessly rooted in an era that had nothing to do with me or my life, a name on the spine of books in my parents’ house that I’d never seen cracked. It was only after I did the work of crawling inside the book that I saw and appreciated Hemingway’s genius—the spare, almost parched, approach to language, in which simple words built simple sentences that stacked up into simple paragraphs, the sum of which was not simple at all."
You can read the entire post (and see early versions of the covers for 600 Hours of Edward and The Summer Son) here.
Craig recommends
THE GLASS MENAGERIE
Craig says: My wife and I saw a production of this classic play put on by Yellowstone Repertory Theatre (a client of our side business, Lancarello Enterprises). It was a glorious night, and I was struck by how well the themes of the play stand up even as time has swamped the setting of St. Louis in the late 1930s. The anachronisms, like the rotary telephone, weren't at all faded; they were, simply, artifacts of the time, while the deeper human emotions and yearnings were recognizable and achingly relatable to anyone from any era. That's what good art does. The following week, I read the play as I traveled to and from a pipeline job in Illinois, and I marveled anew at what a powerful story Tennessee Williams tapped into, and at such a young age. It's well worth your time to (a) read the play and (b) see a performance should one be in your area.
Craig says: My wife and I saw a production of this classic play put on by Yellowstone Repertory Theatre (a client of our side business, Lancarello Enterprises). It was a glorious night, and I was struck by how well the themes of the play stand up even as time has swamped the setting of St. Louis in the late 1930s. The anachronisms, like the rotary telephone, weren't at all faded; they were, simply, artifacts of the time, while the deeper human emotions and yearnings were recognizable and achingly relatable to anyone from any era. That's what good art does. The following week, I read the play as I traveled to and from a pipeline job in Illinois, and I marveled anew at what a powerful story Tennessee Williams tapped into, and at such a young age. It's well worth your time to (a) read the play and (b) see a performance should one be in your area.
