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"In the fifteen years since Alice served in the U.S. Army as an interrogator at Guantánamo Bay, she has successfully reinvented herself and suppressed all memories of her prior life, mostly through the aid of pharmaceuticals. She now lives contentedly, if not passionately, in Minnesota with her loving husband and precocious teenage daughter. That is, until Bashir, a Pakistani Muslim, shows up at Alice's flower shop and asks for part of her liver as compensation for the suffering he endured as one of her detainees. The request sets into motion a series of visceral and spiritual encounters among six characters whose lives will be forever connected and defined by a single act of inhumanity. This daring and beautiful play is at once searingly poetic and incisively political as it explores the nature of trauma, the conflicting eroticism and brutality of violence, and the blurry line between revenge and redemption."--Back cover.
Frances Ya-Chu Cowhig's powerful drama Lidless asks important and difficult questions: is guilt a necessary form of moral reckoning, or is it an obstacle to be overcome? Will the price of national political amnesia be paid only by the next generation - the daughters and sons who were never there? It's been fifteen years since Guantánamo, fifteen years since Bashir last saw his U.S. Army interrogator, Alice. Bashir is now dying of a disease of the liver, an organ that he believes is the home of the soul. He tracks down Alice in Texas and demands that she donate half her liver as restitution for the damage wrought during her interrogations. But Alice doesn't remember Bashir; a PTSD pill trial she participated in while in the army has left her without any memory of her time there. It is only when her inquisitive fourteen-year-old daughter begins her own investigation that the fragile peace of mind that Alice's drug-induced oblivion enabled begins to falter. Although politically engaged and topical, the play's significance is further-reaching and taps into timeless questions. Lidless portrays the inevitable consequences of moral crimes, in spite of the lapse of time and the oblivion of the perpetrators. Guilt inexorably engenders retribution with a horrible symmetry, so comeuppance is exacted upon what is held most dear. Within a modern and politically-charged setting, Lidless has a tight plot of cyclical, interfamilial violence and inevitable, if blindly executed, vengeance.
Founded in 1984, Parkett has long been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. Recent featured artists include Ed Atkins, Mika Rottenberg, Lee Kit and Theaster Gates (98), Andrea Büttner, Abraham Cruzvillegas, Camille Henrot and Hito Steyerl (97), Marc Camille Chaimowicz, Pamela Rosenkranz, John Waters and Xu Zhen (96), Jeremy Deller, Wael Shawky, Dayanita Singh and Rosemarie Trockel (95). Additional articles include Konrad Bitterli viewing Hubbard/Birchler's latest film trilogy and the paintings of Markus Döbeli (97); Nuria Enguita Mayo on drawings and paintings by Anna Boghiguian; and Julieta González provides an overview of Mexico City's arts institutions (96).
The poetry of Shruti Das, from Odisha, India has reached me in Colombo, Sri Lanka, and impressed me, because they are also beautiful music to our ears and wonderful paintings to our eyes, all at once that swing us into a timeless melody. She makes silence speak through her poems, which she has written for you, me and everyone. They are about mothers and daughters pressed between expression and silence, spoken by quiet eyes. Some of the poems are about inequality, and social injustice, but presented in new and creative forms. The Lady of Myths tells us about the story of mankind, and the poem about mountains tells how man has been destroying our environment and molesting Mother Earth. Each poem makes us pause and think, as all poetry should be. Daya Dissanayake, Educationist,Writer, Activist, Sri Lanka I really enjoyed reading your poetry. It is gentle and profound Rosemarie Rowley. Poet, Ireland. Each poem is a nugget you can be proud of. They voice humanitarian concerns and are couched in passionate and precise expression. The language is chiselled to suit the feelings precisely. There are also echoes of Shakespeare and Eliot. I like the description of evening as Cleopatra stretching out on her barge in all her allure. The Song Unsung is another moving piece. I didnt realise so much poetic talent is bottled up in Shruti. Thomas Gray was right: Full many a gem of purest ray serene lies hidden - Prof. E. Nageswara Rao, Hyderabad, India
Max Gladstone returns with The Ruin of Angels, the sixth novel in the Hugo-nominated Craft Sequence, which The Washington Post calls "the best kind of urban fantasy" and NPR calls "sharp, original, and passionate" The God Wars destroyed the city of Alikand. Now, a century and a half and a great many construction contracts later, Agdel Lex rises in its place. Dead deities litter the surrounding desert, streets shift when people aren’t looking, a squidlike tower dominates the skyline, and the foreign Iskari Rectification Authority keeps strict order in this once-independent city—while treasure seekers, criminals, combat librarians, nightmare artists, angels, demons, dispossessed knights, grad students, and other fools gather in its ever-changing alleys, hungry for the next big score. Priestess/investment banker Kai Pohala (last seen in Full Fathom Five) hits town to corner Agdel Lex’s burgeoning nightmare startup scene, and to visit her estranged sister Ley. But Kai finds Ley desperate at the center of a shadowy, and rapidly unravelling, business deal. When Ley ends up on the run, wanted for a crime she most definitely committed, Kai races to track her sister down before the Authority finds her first. But Ley has her own plans, involving her ex-girlfriend, a daring heist into the god-haunted desert, and, perhaps, freedom for an occupied city. Because Alikand might not be completely dead—and some people want to finish the job. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Asia is a continent of contradictions and boundaries; it offers exciting business opportunities, but is also characterized by unpredictability and conflict. While flexibility and creativity are in the DNA of many startups in China, major players like Xiaomi and Alibaba have also emerged as global giants, challenging established global competitors. The authors of this book show that these companies are crossing various boundaries – between cultures, mindsets, and perspectives. At the same time, Western companies entering Asian markets face challenges that are very different from those on their home turf. This book addresses the needs of current and future managers doing business in Asia, who need to understand the individual, social and business challenges that can arise from crossing boundaries. The respective case studies provide essential insights on how several Asian companies have made impressive strides towards becoming established players; how the revival of local brands and growing pride in local products has become a major challenge for global competition; how the need to actively practice corporate social responsibility in Asian markets is currently challenging many companies; and how the need for individual and team coaching among the members of management to support a company’s development has grown tremendously, calling for new solutions.
A guidebook to the allusions of T.S. Eliot's notorious poem, The Waste Land , Reading The Waste Land from the Bottom Up utilizes the footnotes as a starting point, opening up the poem in unexpected ways. Organized according to Eliot's line numbers and designed for both scholars and students, chapters are free-standing and can be read in any order.
Despite a growing literature on identity theory in the last two decades, much of its current use in archaeology is still driven toward locating and dating static categories such as ‘Phoenician’, ‘Christian’ or ‘native’. Previous studies have highlighted the various problems and challenges presented by identity, with the overall effect of deconstructing it to insignificance. As the humanities and social sciences turn to material culture, archaeology provides a unique perspective on the interaction between people and things over the long term. This volume argues that identity is worth studying not despite its slippery nature, but because of it. Identity can be seen as an emergent property of living in a material world, an ongoing process of becoming which archaeologists are particularly well suited to study. The geographic and temporal scale of the papers included is purposefully broad to demonstrate the variety of ways in which archaeology is redefining identity. Research areas span from the Great Lakes to the Mediterranean, with case studies from the Mesolithic to the contemporary world by emerging voices in the field. The volume contains a critical review of theories of identity by the editors, as well as a response and afterward by A. Bernard Knapp.