I realized that I had to be honest about where I was, where I was coming from, and what I was trying to do.

Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.

My play is the ultimate expression of my feeling of the twilight of Western civilization.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

I've been trying to figure out for at least the last 10 years how to force myself into something more risky.

What really happened was one day I decided to write a new kind of play.

One does not devote one's life in art to shock an audience.