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The work of English playwright Simon Gray (1936-2008) has always resisted ideological and stylistic labels. His artistic independence has also had an unwelcome side effect: It cost him the critical attention garnered by his peers. This book, the first monograph on Gray, examines his oeuvre from the early plays, which hack away at the formalism and humanism of traditional English satire, to the later ones, in which he explores English professionals and their problems connecting with each other. If Gray remains the least known major English dramatist of his day, he's also one of the boldest and best.
Best known for his popular crime fiction, Boston novelist George V. Higgins (1939-1999) should stand among the top ranks of the American literary canon. In his 26 novels and dozens of short stories, Higgins chronicled the lives of Boston's Irish with his trademark hard-boiled dialog, exploring the criminal underworld, American democracy, Boston politics, personal redemption and New England life in the tradition of Hawthorne and Thoreau. This intimate biography explores his turbulent life and career, including his working-class Irish Catholic roots, his two stormy marriages, his ambivalence toward the city of his birth, his passion for the limelight, and his drinking, which disrupted his family life and led to his early death at age 59. Discussions of Higgins's individual works and excerpts from his correspondence, writings, and thoughts on literature complete this revealing portrait.
Simon Gray is the ideal teenager — smart, reliable, hardworking, trustworthy. Or is he? After Simon crashes his car into The Liberty Tree, another portrait starts to emerge. Soon an investigation has begun into computer hacking at Simon’s high school, for it seems tests are being printed out before they are given. Could Simon be involved? Simon, meanwhile, is in a coma — but is this another appearance that may be deceiving? For inside his own head, Simon can walk around and talk to some people. He even seems to be having a curious conversation with a man who was hung for murder 200 years ago, in the branches of the same tree Simon crashed into. What can a 200-year-old murder have to do with Simon’s accident? And how do we know who is really innocent and who is really guilty?
As a baby, Simon Gray discovered that he could move his pram while still nestling inside it. 'It was a complete mystery to the adult intelligences, how had he done it, if it was he who had done it, but if not he, who then and why? So the next afternoon they (Mummy and Nanny) planted the pram in the usual spot, and stood over it, watching - the baby lay there smiling or snivelling up at them, until it struck them that they should try observing the baby when unobserved by the baby, and they withdrew behind bushes and trees etc.; and thus witnessed the swaying of the pram, then the juddering of the pram, then its slow, unsteady progress along the path, the movement accompanied by a low humming and keening sound from within that reminded them more of a dog than a human ... "jouncing" was the word they used for it. I was a jouncer therefore.' In the second book of his chronicles of triumph and disaster which started with The Smoking Diaries, Gray intertwined scenes from his adult and his childish self to produce a brilliant and moving counterpoint of life's unsteady progress.
'Sharp, funny and clever . . . What a pleasure to re-encounter a play that combines unabashed intelligence and zinging wit with a rare generosity of spirit.' Daily Telegraph on The Common Pursuit 'Gray's stature as one of the handful of great tragi-comic English dramatists of the second half of the twentieth century would appear now to be undisputed.' Howard Jacobson, Critical Quarterly Hidden Laughter 'A sad divine comedy, superbly written. Gray nurses his characters and cares for them, but he never pampers them, or pities them, or presumes to use them as his spokesman. In this respect, he has become an English Chekhov... At the same time, Gray dispenses some of the incandescent malice and moral savagery of Coward at his acid best... But, of course, comparisons can only help you get your bearings. Gray is entirely his own man in this painful, querulous, warm, hard and mature play.' Sunday Times
By mid-career, many successful writers have found a groove and their readers come to expect a familiar consistency and fidelity. Not so with Henry Green (1905-1973). He prefers uncertainty over reason and fragmentation over cohesion, and rarely lets the reader settle into a nice cozy read. Evil, he suggests, can be as instructive as good. Through Green's use of paradoxical and ambiguous language, his novels bring texture to the flatness of life, making the world seem bigger and closer. We soon stop worrying about what Hitler's bombs have in store for the Londoners of Caught (1943) and Back (1946) and start thinking about what they have in store for each other. Praised in his lifetime as England's top fiction author, Green is largely overlooked today. This book presents a comprehensive analysis of his work for a new generation of readers.
The Theater of Terrence McNally by Peter Wolfe Pdf
This first book-length work on Terrence McNally shows how his decades in the theater have refined his thoughts on subjects like growing up gay in mannish, homophobic Texas, Shakespeare's legacy in contemporary drama, and the life-giving power of forgiveness. McNally believes that the ability to forgive--a challenge to even the most high-minded--confirms our humanity because the wrongs done to us usually don't deserve to be forgiven. The author shows how McNally's impeccable timing, his instinct for a good laugh line, and his preference for physical sensation and character over plot helps him reveal both what's important to his people and why his people are important. These revelations can shake up audiences while providing a great evening at the theater.
This first ever, officially authorised biography of Fry & Laurie takes us on their journey from insecure Footlighters to international comedy heroes. It is the tale of a true friendship, a deep affection between two very funny men which has long been reflected back from an adoring public. Jem Roberts, acclaimed chronicler of Blackadder and The Hitchhiker’s Guide to the Galaxy, covers everything from the excitement of being the first Perrier Award winners with The Cellar Tapes to the terrors of performing on Saturday Live, the collaborative warfare of Blackadder and the ultimate depiction of Wodehouse’s most inimitable characters, Jeeves & Wooster. Beyond this, the trials and tribulations of their remarkable subsequent separate career paths, from QI to House, will be explored for the first time. With tantalising, never-before-seen titbits from the A Bit of Fry & Laurie archive, and interviews with Emma Thompson, Richard Curtis, John Lloyd and more, this history of Fry & Laurie is an overdue celebration, paying tribute to a legacy of laughter from one of the funniest double acts of all time.
Author : Henri Lustiger Thaler Publisher : Wayne State University Press Page : 266 pages File Size : 42,7 Mb Release : 2017-09-04 Category : History ISBN : 9780814343029
Primary witnessing, in its original forms—from survivor and bystander testimonies, to memoirs and diaries—inform our cultural understanding of the multiple experiences of the Holocaust. Henri Lustiger Thaler and Habbo Knoch look at many of these expressions of primary witnessing in Witnessing Unbound: Holocaust Representation and the Origins of Memory, which is particularly relevant today with the hastening decline of the Holocaust survivor demographic and the cultural spaces for representation it leaves in its wake, in addition to the inevitable and cyclical search for generational relevancy, siphoned through acts of memory. The essays in Witnessing Unbound are written by some of the leading figures on the theme of witnessing as well as scholars exploring new primary sources of knowledge about the Holocaust and genocide. These include a focus on the victims: the perished and survivors whose discursive worlds are captured in testimonies, diaries, and memoirs; the witnessing of peasant bystanders to the terror; historical religious writing by rabbis during and after the war as a proto memoir for destroyed communities, and the archive as a solitary witness, a constructed memory in the aftermath of a genocide. The experiences showcased and analyzed within this memorializing focus introduce previously unknown voices, and end with reflections on the Belzec Memorial and Museum. One survivor moves hearts with the simple insight, “I died in Auschwitz, but no one knows [sees] it.” In counterpoint is a court case with SS General Karl Wolff, who has conveniently forgotten his crimes during the Holocaust. Original experience and its reimagination within contemporary frameworks make sense of an event that continues to adapt and change metaphorically and globally. As one of the contributors writes: “In my mind, the ‘era of the witness’ begins when the historical narrative consists of first-person accounts.” Witnessing Unbound augers in the near completion of that defining era, by introducing a collection of diverse reflections and mediations on witnessing and memory. A must-read for the further understanding of the Holocaust, its cruel reality, and its afterdeath.
Comedy is a game that all humans play. There are big social prizes if you win, but it is easy to end up with custard pie on your face... or worse. Comedy can soothe our pain, vent our anger, make us feel less alone and provide the answer to life’s most difficult questions, such as, ‘What do you call a man with a seagull on his head?’* It’s a social glue but it can also be divisive, and the joke is on us if we don’t understand how it works. So, what are the rules? How does comedy do its magic and why does it matter? Join professional comedy writer Joel Morris on a hilarious journey into the hidden world of shared laughter where he reveals the mechanisms that make jokes work and what comedy can teach us about ourselves. Offering astute analysis of everything from stand-up to slapstick and sitcom to spoof, Morris examines comedic patterns, rhythms and dynamics to uncover the algorithms that secretly underpin comedy. Packed with gags and examples of comedy at its best – plus some invaluable tips on how to master that b’dum tish timing – Be Funny or Die is a fascinating investigation into how our species has developed and mastered this essential art form where laughter is the universal language and only the funniest survive. *Cliff.
Forced to seek a doctor's care after being assaulted in her emigrant parents' boarding house, spirited Pia Caranza bonds with respected doctor Bart Wilson, who avoids relationships after tragically losing his wife in childbirth.
