Richard Price
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Literary Arts

Richard Price

Past Event: Tuesday, December 1, 2009

At Benaroya Hall — S. Mark Taper Foundation Auditorium

Richard Price’s latest novel, Lush Life, reads like the best Law & Order episode you’ve ever seen, drawn out over the length of a novel and deepened by the time, space, and thoughtfulness of the form. Lauded for his impeccable dialogue, seamless storytelling and crackerjack wit, Price works like a detective: watching, listening, and recording carefully, at a distance, the stories of a city.

Born and raised in the Bronx Parkside Projects, his experiences there served as the source of his writing, even after six Ivy League years at Cornell University and in Columbia University’s M.F.A. program in fiction. Price’s first book, The Wanderers (1974), was published when he was twenty-four; it was followed by three mostly autobiographical novels set in the fictional city of Dempsy, New Jersey. To gather ideas he hung out with a lot of cops, practicing what Michael Chabon called “a funky, Seventies brand of street-level reportage” that resulted in “a mastery of interior portraiture, of the Tolstoyan free indirect style.” But these four books drained Price in a way that he couldn’t have predicted. “I was so fucking bored,” he said in an interview, lamenting that he had nothing left to write about except what he had for breakfast.

He turned to Hollywood, writing two award-winning movies, The Color of Money and Sea of Love, and picking up a “pedestrian, ‘80s-style cocaine habit.” When he kicked the cocaine, Price returned to New York and taught writing to former crack-addict kids at a rehab center in the Bronx. That material made its way into the novel Samaritan (2003), about a Hollywood television writer who returns home to teach in a city school. But the movie work granted him an unexpected perk: regular people knew him—they’d heard of his films—and the detectives who were hesitant to let him hang around in the ‘70s were suddenly chummy, hoping for a bit part in Price’s next film.

The cops let him follow them around until he had a story: a crime across social strata, across economic lines, across politics and money. Clockers (1992), later adapted into the 1995 movie directed by Spike Lee, became the basis for the hit TV show The Wire, for which Price also wrote. Literarily, he says, “I like crime as a backbone,” for the way “an investigation will take you through a landscape.” David Ulin, for the Los Angeles Times Book Review, put it this way: “For Price, the social novel is also a crime novel, or maybe it’s just that in the intersection between criminality and citizenship we get our truest sense of what the city means.”

Now alternating between screenplays and novels, Price’s latest book, Lush Life, is a first-rate crime procedural set in New York City’s Lower East Side. The neighborhood itself is the main character of the book, a place where Price’s grandparents got their start, where the landscape is in a state of constant change. He’s been criticized for writing about lives he hasn’t lived, for writing about races he isn’t or people whom he can’t pretend to know. To that he says, “The job of the novelist—or any creative writer—is to imagine lives that are not your own. And nothing is off-limits.”

Excerpt from Lush Life (2008) The next morning, giving his back to the rumple and clutter left behind by his departed sons, Matty stood hunched over the railing of his AstroTurfed seventeenth-floor terrace, coffee cup in hand, and looked down on the neighboring streets to the west, an aerial checkerboard of demolition and rehabilitation, seemingly no lot, no tenement untouched; then looked south to the financial district, to the absence of the Towers. He always imagined the slick obsidian office building that as of last year dominated the view as embarrassed, like someone exposed by an abruptly yanked shower curtain.

He felt mildly embarrassed himself, for avoiding his sons again, for sleeping in the bunk room. At least it was just that one night; Jimmy Iacone, unable to get it together after his separation, and preferring to spend his disposable income in Ludlow Street bars, had been straight-up living in that windowless hamper for the last six months.

Matty’s piano-legged neighbor stepped out onto the adjoining terrace and, ignoring him, started beating a throw rug like an intractable child. Hers was the only Orthodox family in the building willing to use the self-starting shabbos elevator as opposed to walking up the stairs from Friday sundown through Saturday, and therefore the only Orthodox family willing or able to live above the sixth floor. But they had only a two-bedroom and she was pregnant again, the third time in five years, so they’d probably be moving soon, selling for at least half a million, most likely to some young Wall Street couple who liked the idea of walking to work. Each December you could track the increase in Gentile couples living in this formerly all-Jewish enclave simply by counting the new Christmas-light-trimmed terraces along the twenty-story building front last year’s influx finally enough to vote in a seven-foot Scotch pine in the lobby next to the perennial Hanukkah menorah.

Selected WorkBooks
Lush Life (2008)
Samaritan (2003)
Freedomland (1998)The Breaks (1993)Clockers (1992)Ladies’ Man (1978)Bloodbrothers (1976)The Wanderers (1974)Teleplays and ScreenplaysThe Wire (5 episodes: “All Due Respect,” Season 3, 2004; “Moral Midgetry,” Season 3, 2004; “Home Rooms,” Season 4*, 2006; “Corner Boys,” Season 4, 2006; “Took,” Season 5, 2008). *All writers for Season 4 received Edgar Awards.Shaft (2000)Ransom (1996)Life Lessons (1989)Sea of Love (1989)The Color of Money (1986) (nominated for an Oscar)LinksRichard Price interview Richard Price bibliography

Event Details

Benaroya Hall — S. Mark Taper Foundation Auditorium

200 University Street
Seattle, WA 98101

View directions.

Transportation & Parking

This event will be held in the S. Mark Taper Foundation Auditorium, the largest event space at Benaroya Hall. 

Benaroya Hall is located at 200 University Street, directly across Second Avenue from the Seattle Art Museum. The public entrance to Benaroya Hall is along Third Avenue.

By Car

  • From Southbound I-5
    Take the Union Street exit (#165B). Continue onto Union Street and proceed approximately five blocks to Second Avenue. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound I-5
    Exit left onto Seneca Street (exit #165). Proceed two blocks and turn right onto Fourth Avenue. Continue two blocks. Turn left onto Union Street. Continue two blocks. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.
  • From Northbound I-5 via Westbound I-90
    Take the 2C exit for I-5 North. Follow signs for Madison Street/Convention Place and merge right onto Seventh Avenue. Turn left onto Madison Street. Proceed three blocks and turn right onto Fourth Avenue. Continue four blocks. Turn left onto Union Street. Continue two blocks. Turn left onto Second Avenue. The Benaroya Hall parking garage will be on your immediate left. The garage entrance is on Second Avenue, just south of Union Street.

By Public Transit (Bus & Light Rail)

Benaroya Hall is served by numerous bus routes. Digital reader boards along Third Avenue display real-time bus arrival information. For details and trip planning tools, call Metro Rider Information at 206.553.3000 (voice) or 206.684.1739 (TDD), or visit Metro online. The Downtown Seattle Transit Tunnel, served by light rail, has a stop just below the Hall (University Street Station).


The 430-car underground garage at Benaroya Hall provides direct access from the enclosed parking area into the Hall via elevators leading to The Boeing Company Gallery. Enter the garage on Second Avenue, just south of Union Street. Maximum vehicle height is 6’8″. ChargePoint charging stations are available for electric vehicles. Visit the Benaroya Hall website for event pricing.

Parking is also available at:

  • The Cobb Building (enter on University Street between Third and Fourth avenues).
  • The Russell Investments Center (enter on Union Street between First and Second avenues).
  • There are many other garages within a one-block radius of Benaroya Hall, along with numerous on-street parking options.


Open Captioning is an option for people who have hearing loss, where a captioning screen displaying the words that are spoken or sung is placed on stage. This option is present at every event at Benaroya Hall in our 2021/22 Season.

Closed Captioning is an option for people who have hearing loss, where captioning displays the words that are spoken or sung at the bottom of the video during an online event. Captioning is available for all online events; click the “CC” button to view captions during the event.

Assistive Listening Devices (ALDs) are devices that people with hearing loss use in conjunction with their hearing device (hearing aids or cochlear implants). Benaroya Hall has an infrared hearing system, which transmits sound by light beams. Headsets are available in The Boeing Company Gallery coat check and the Head Usher stations in both lobbies.

Sign Language Interpretation is available upon request for Deaf, DeafBlind, and hard of hearing individuals for both in-person and online events. To make a request for interpretation, please contact us at or 206.621.2230×10, or select “Sign Language Interpretation” from the Accessibility section during your ticket checkout process and we will contact you to confirm details. Please note: we appreciate a two-week advance notice to allow us time to secure interpretation.

Wheelchair Accessible Seating and Accessible Restrooms are available in all sections at our venues, and our venues are fully accessible to ticket holders with physical mobility concerns. Among other features, Benaroya Hall has designated parking spaces adjacent to elevators in their parking garage. Elevators with Braille signage go to all levels within the Hall. To reserve seating for a specific mobility concern, you may select “Wheelchair Accessible or Alternative Seating Options” during ticket checkout, and we will contact you to confirm details. For more details on their accessibility features, click here.

Guide and service dogs are welcome.

Gender neutral restrooms are available.

We are pleased to offer these accessibility services at our venues, and they are provided at no additional cost to ticket holders. Please contact us with any questions and feedback about how we can be more accessible and inclusive. Our Patron Services Manager is available at, or Tuesday-Friday, from 12 noon–5 p.m., at 206.621.2230×10.

For more accessibility information, please head to If you would like to make accessibility arrangements you do not see listed here, please contact our box office or select “Other Accommodations” from the Accessibility section during your ticket checkout process, and we will contact you to confirm details.