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Sarah Ruhl

Sarah Ruhl Books

Playwright

Eurydice

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“Every day as I wave to my children when I drop them off at school, or let one of them have a new experience—like crossing the street without holding my hand—I experience the struggle between love and non-attachment. It is hard to bear—the extreme love of one’s child and the thought that ultimately the child belongs to the world. There is this horrible design flaw—children are supposed to grow up and away from you; and one of you will die first.”

“She has a quiet paroxysm. Now remember that these are the days before digital pornography. There is no cliché of how women are supposed to orgasm, no idea in their heads of how they are supposed to sound when they climax. Mrs. Daldry’s first orgasms could be very quiet, organic, awkward, primal. Or very clinical. Or embarrassingly natural. But whatever it is, it should not be a cliché, a camp version of how we expect all women sound when they orgasm. It is simply clear that she has had some kind of release.”

“the theater is one of the few places left in the bright and noisy world where we sit in the quiet dark together, to be awake." Ruhl, Sarah. 100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater (p. 103). Faber & Faber. Kindle Edition.”

“I found that life intruding on writing was, in fact, life. And that, tempting as it may be for a writer who is a parent, one must not think of life as an intrusion. At the end of the day, writing has very little to do with writing, and much to do with life. And life, by definition, is not an intrusion.”