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Reissue of a play first published 1965 as part of the collection 'Four Plays'. Lonely Miss Docker is taken in by a well-meaning couple with the best of intentions when she is left homeless, but the situation does not work out. She moves into a home for the aged, where she is met with a mixed reaction. Playwright was also a novelist, and one of Australia's most renowned literary figures. He was awarded the 1973 Nobel Prize for Literature. Other titles include the novel 'The Eye of the Storm' and play 'Big Toys'.
Eleven stories to which Patrick White brings his immense understanding of the urges which lie just beneath the facade of ordinary human relationships, especially those between men and women. A girl beset by her mother's influence, who marries her father's friend. . . A young man strangely moved into marriage with a girl like the mother who never understood him. . . A pretty market researcher who learns the ultimate details of love with a difference. . . The collector of bird-calls who unwittingly records the call of a very human nature.
“Varney combines a theoretically astute sense of the hybridity of the dramatic event, with a dense but lucidly rendered sociological history of White’s plays as they progress through different productions, revivals, and receptions … This is an essential insight, and one which could be usefully extended to White’s novels, and perhaps to Australian modernism broadly.” - Jonathan Dunk, Australian Book Review One of the giants of Australian literature and the only Australian writer to have won the Nobel Prize for Literature, Patrick White received less acclaim when he turned his hand to playwriting. In Patrick White’s Theatre, Denise Varney offers a new analysis of White’s eight published plays, discussing how they have been staged and received over a period of 60 years. From the sensational rejection of The Ham Funeral by the Adelaide Festival in 1962 to 21st-century revivals incorporating digital technology, these productions and their reception illustrate the major shifts that have taken place in Australian theatre over time. Varney unpacks White’s complex and unique theatrical imagination, the social issues that preoccupied him as a playwright, and his place in the wider Australian modernist and theatrical traditions.
In this mouthwatering cozy mystery series, fraternal twins Keaton and Koby are trying to run their combined soul food café and bookstore, but they find themselves searching for a cold-hearted killer. Keaton and Koby are fraternal twins who were separated as children, but now they’ve found each other and opened Books & Biscuits in the pleasant Pacific Northwest town of Timber Lake. Business is booming, but even so, trouble always seems to find them. Mama Zola, Koby’s devoted foster mom, has taken up residence in Timber Lake. She and Pete, one of the bookstore’s quirky employees, bring a peach cobbler over to her church’s potluck, and then someone who sampled the cobbler is found dead. Mama Zola and Pete find themselves suspects in the murder, but luckily Koby and Keaton are ready to sling out a side of justice.
"Is God listening? "Can he be trusted?" In this book, Yancey tackles the questions caused by a God who doesn't always do what we think he's supposed to do.
From Mary Karr comes this gorgeously written, often hilarious story of her tumultuous teens and sexual coming-of-age. Picking up where the bestselling The Liars' Club left off, Karr dashes down the trail of her teen years with customary sass, only to run up against the paralyzing self-doubt of a girl in bloom. Fleeing the thrills and terrors of adolescence, she clashes against authority in all its forms and hooks up with an unforgettable band of heads and bona-fide geniuses. Parts of Cherry will leave you gasping with laughter. Karr assembles a self from the smokiest beginnings, delivering a long-awaited sequel that is both "bawdy and wise" (San Francisco Chronicle).
"Now, after one dark kiss from a dangerous boy, I can steal someone's soul, or their life. If I give in to the constant hunger inside me, I hurt anyone I kiss. If I don't, I hurt myself"--P. [4] of cover.