An aging expat journalist, British-born and bred but now 20 years in his country’s last colonial outpost of Hong Kong, is battling his own sell-by date while ostensibly trying to report on the historical forces that had long been unleashed by the island country’s 1997 handover to communist China. Largely student-led protesters make nightly appearances in the streets, trying to evade tear gas and police batons as they decry the oft-predicted reality that China’s promises of a hands-off policy toward Hong Kong’s mostly democratic rule are proving empty.

Meanwhile, the journalist’s pal from his university days at Cambridge, scion of a wealthy Hong Kong family, is up to his ears in the duplicity and semi-recklessness peculiar to a certain kind of privilege. The journalist ultimately makes the decision to report on that recklessness when it leads to deadly consequences.

Or did it?

This is the basic setting for ...

A few years ago, I was writing a script and coordinating with a production company to create a short video with narration and music. Part of my task was to amass a large cache of photos, each of which could match relevant parts of the narration. The protocol in such projects is to give the editor far more photos than he or she will need, and I dutifully performed that function to what I thought was completion.

So I was rather taken aback when the editor complained the next week that he didn’t have nearly enough photos to finish the job. The conversation went something like this:

Me: “How could this be? A hundred and fifty photos for a five-minute show isn’t enough?”
Him: “No way.”
Me: “By my count, that’s one every two seconds!”
Him: “People these days want really fast-moving pictures. They get bored if it’s too slow.”
Me: “People these days?…Bored? Too slow?”

And so on.

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I’m put in mind of that co...

In her slim 2013 volume, “On Beauty and Being Just,” Harvard Professor Elaine Scarry attempts to unravel the mysterious pull and effect of the beautiful on human consciousness. Far from being mere surface gloss obscuring the deeper or truer nature of any given object or experience, beauty is central to human experience, summoning us to ever deeper exploration—and our own depths in responding to it.

“Something beautiful fills the mind yet invites the search for something beyond itself, something larger or something of the same scale with which it needs to be brought into relation,” she writes.

And perhaps most importantly, beauty instills in us a desire to both replicate and share it—to point, to exclaim, to paint, to sing and dance and exult, to communicate about how we have been moved and inspired and ultimately, changed by it.

And to advance the possibility that others might be changed, too.

Shari...

A busker is wailing his heart out to an audience of absolutely no one as drivers and pedestrians go about their business on a Dublin sidewalk. His brow furrowed and throat straining, he espies a stoop-shouldered addict, cigarette dangling from his lips, stumbling out from a little alleyway where he has just relieved himself against a graffiti-laden wall. Still wailing (“…the healing has begun…”), the busker keeps a wary eye out for the addict, who is milling about in front of the busker’s open guitar case pretending to enjoy the music.

As the addict stoops to ostensibly tie his sneakers, the busker stops singing momentarily and utters words of warning that he will chase him down if the addict dares to snatch whatever meager reward may be lying about in the guitar case, which is the very picture of “not overflowing with bills.”

The addict protests, mills about a bit more, then pounces, swooping up the enti...

I suspect all artists are as bedeviled by what to leave out of a work as by what to include. The canvas, score or page is only so large, and though one could theoretically keep writing a piece of music or prose without end (until death parts you from it), no sane person would try to keep listening or reading.

But truly, to begin a creative work is often to be overflowing with potential material and overwhelmed by how to shape and contain it.

You have to be careful it doesn’t sprawl all over whatever medium you’re using with either too much material or, in a slight twist on that theme, too much material of one kind at the expense of perhaps more relevant or interesting or even essential material of another kind.

It is the latter occurrence that can leave audience members with more questions at the end of a creative work than they had at the beginning...