Pain can stump even gifted writers, but a few have managed to describe the experience exquisitely.
"What counts is that the critic should be really involved with a work; that he should follow the track of his curiosity into it just as long and as passionately as may be necessary."
In the New Yorker, Rebecca Mead blasts the idea that audiences should crave familiar art. In fact, relatability is practically the God particle of theater, and it has been for a long time.