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"To read is to perform. I have many names, however, that cannot be true. The title of this text has been changed many times, and these are the names I can still recall: 'Drinking milk', 'Look!', 'The Breath', and 'Sin'. I am afraid of making mistakes. It seems mistakes are omnipresent, and the phobia about making a mistake is never discontinued. I am afraid I am alone." So starts Sine Kang's existential tale of a mother and son. Sine's work delves into the ideas of hatred, knowledge, the world, perfection, and the concept of words themselves. With confidence in the written word, Sine's masterful work rouses the readers mind in concepts and thoughts that will preoccupy a mind long after the work has been completed. Through witnessing the discussion between a mother and son, a son's whose voice is ignored, and a mother whose ignorance is forced, we come to understand that the long discussions of Mother and Son on the page is merely an example of the discussions we wish to have with our friends, our loved ones, and ourselves. Siné is a poet and playwright in South Korea. She lives on an island called Namhae-gun. And she invites you to read along.
Reproduction of the original: Thereby Hangs a Tale by George Manville Fenn
Loss, trauma, memory, and, above all, the ties of family and being Jewish are the elements that weave together this panoramic story. Come Back for Me travels through time and place only to bring us, ultimately, to the connections between generations. Artur Mandelkorn is a young Hungarian Holocaust survivor whose desperate quest to find his sister takes him to post-war Israel. Intersecting Artur's tale is that of Suzy Kohn, a Toronto teenager whose seemingly tranquil life is shattered when her uncle's sudden death tears her family apart. Their stories eventually come together in Israel following the Six-Day War, where love and understanding become the threads that bind the two narratives together. Like Sarah's Key, Come Back for Me deals evocatively with the scars left by tragedy and the possibilities for healing.
Joanna thought she would always struggle to trust men. From an unwell mother to a father battling addiction, Joanna was lost in a sea of panic, fear and worry. Dante believed he would never be able to open up to another person again, either. From an unwell mother to a father who battled with addiction, Dante had fallen into a world of dissociation and anger. But when these two lives collide, they find that through their love and time together, some wounds can heal. Overcoming their problems was never going to be easy. But through each other, Joanna and Dante will certainly try. The two lives of Joanna and Dante meet head on, both for better, and for worse. From Ja 'Licia Gainer, a writer based in Missouri, comes Two Lives, a tale of love, family and betrayal.
Just Like Him To Die by Douglas Bruton tells of the last days of Dylan Thomas as he lies unconscious and dying far from his Welsh home in a hospital bed in New York's Saint Vincent Hospital. Dylan Thomas was a womanizer, a drunk, a bad husband, parent and friend, but Just Like Him To Die makes an effort to redeem him. In this new novella from Douglas Bruton, Dylan Thomas remembers ― albeit imperfectly ― episodes from his life which he transmutes these into gentle Under-Milk-Wood-like stories which are full of fun and word-play pyrotechnics. After all, when we each come to tell the stories of our own lives, we turn them into 'untruths' in just the same way. Weaving in and out of the poet's thoughts and recollections are the voices of those gathered around him at the end. At the poet's death, everyone forgives Dylan Thomas his failings and remembers only the soft and the warm and the good things about him. Just Like Him To Die is subtitled 'a short novel for voices' which mirrors the subtitle for Under Milk Wood: (a play for voices).* The novella can be as long or as short as a piece of string, and as such invites the writer to experiment with the form and encourages both an intense focus on the writing and a sustained sense of play. Think juggling and the writing of a novella is like that moment when all the balls are in the air at once, all in play at the same time – at least for this writer it is. In Just Like Him To Die, (which is, incidentally and by design, the same length as Dylan Thomas' 'play for voices', Under Milk Wood) I hope I have captured the ebullient character of the raconteur with the fictionalisation and fabrication of his life for the entertainment of others. Try reading this novella with the lilting Welsh voice of the great poet, all coffee-grounds and cigarette smoke, in duelling opposition to the New York drag and drawl of Liz, Linnie, John Malcolm Brinnin and the Doctors. Douglas Bruton