Domnica Radulescu is an American writer of Romanian origin, living in the United States where she arrived in 1983 as a political refugee, having escaped the communist dictatorship of her native Romania. She settled in Chicago where she completed her college education in English literature at Loyola University, then obtained a master’s degree in Comparative literature and a PhD in Romance Languages from the University of Chicago.
She is the author of three critically acclaimed novels, Train to Trieste (Knopf 2008 &2009), Black Sea Twilight (Transworld 2011 & 2012) and Country of Red Azaleas (Hachette 2016) and of award-winning plays. Train to Trieste has been published in thirteen languages and is the winner of the 2009 Library of Virginia Fiction Award.
Radulescu received the 2011 Outstanding Faculty Award from the State Council of Higher Education for Virginia. Radulescu also published thirteen non-fiction books, edited and co-edited collections on topics ranging from the tragic heroine in western literature to feminist comedy, to studies of exile literature to theater of war and exile, and two collections of original plays. Two of her plays, Exile Is My Home and The Town with Very Nice People were runners up for the Jane Chambers Playwriting award in 2012 and 2013, respectively.
Radulescu recently published a volume of selected plays titled Exile Is My Home. Four Plays by Domnica Radulescu.
Radulescu is the founding director of the National Symposium of Theater in Academe and is twice a Fulbright scholar.
Th eaward-winning British playwright Julia Pascal said the following about Radulescu's theater in her Preface to Radulescu's recent volume of plays:
"Radulescu’s writing sits within the larger canon of European exiles. Her sister writers are Eva Hoffman, Marianne Hirsch, Nadine Fresco – all carry the Old Country on their backs and wrestle with the history of statelessness, abandon and loss. But Hoffman, Hirsch and Fresco are not playwrights and so how can Radulescu’s work be framed? Or can it be? It would be easy to see Radulescu as the literary great granddaughter of her fellow Romanian playwright Eugène Ionescu and particularly in regard to his play Rhinoceros. But Radulescu’s feminist vision adds another level of politics as well as that of her anti-fascism. Her plays are profoundly philosophical anti-authoritarian feminist narratives that out-Ionesco Ionesco in their theatricality."
The award-winning Australian American playwright Cristine Evans said the following about Radulescu's theater in the Intorudction to her volume of plays:
"Domnica Radulescu is a writer of radical imagination and heart with the signature clownish melancholy of the Eastern European exile, who knows in her bones that countries, memories, and the lived sense of home, precariously anchored through the everyday, can burn away in any moment. While often very funny, hers are savage plays that refuse the peculiarly American obsession with uplifting endings. All the more reason, then, to treasure this unique collection, which allows the reader to stage Radulescu’s wild, comical, obscene and tragic plays in that secret landscape, the theatre of the mind."