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“River Jordan’s Saints in Limbo is a compelling story of the mysteries of existence and, specially, the mysteries of the human heart.” –Ron Rash, author of Serena and Chemistry and Other Stories “I lose myself in River’s writing–transported to a different time and place– and in this case, to one that makes the ordinary mystical and magical. I give it FIVE diamonds in the Pulpwood Queen’s TIARA!” –Kathy L. Patrick, founder of the Pulpwood Queens Book Clubs and author of The Pulpwood Queens’ Tiara Wearing, Book Sharing Guide to Life Ever since her husband Joe died, Velma True’s world has been limited to what she can see while clinging to one of the multicolored threads tied to the porch railing of her home outside Echo, Florida. When a mysterious stranger appears at her door on her birthday and presents Velma with a special gift, she is rattled by the object’s ability to take her into her memories–a place where Joe still lives, her son Rudy is still young, unaffected by the world’s hardness, and the beginning is closer than the end. As secrets old and new come to light, Velma wonders if it’s possible to be unmoored from the past’s deep roots and find a reason to hope again. Praise for River Jordan “[River Jordan’s] literary spice rack has everything you need to put together a good book.” –Rick Bragg, author of All Over but the Shoutin’ and Ava’s Man “River Jordan writes so beautifully.” –Joshilyn Jackson, author of Gods in Alabama and The Girl Who Stopped Swimming
In the first play in this book, Highway, a man suddenly decides to drive to his girlfriend's house, which is 200 miles away. He becomes obsessed with the thought that each car that passes may be his girlfriend coming to visit him - and as he begins to lose touch with time and place he becomes convinced that he has moved back to another century, another civilization. In the short Intermezzo, a Master of Ceremonies announces, in hilarious detail, all the exotic acts that will not be on the bill that evening. In the final play, Hotel, a down-on-his-luck encyclopedia salesman sits in a flea-bag hotel room, eating Chinese food which is delivered by a disembodied arm, while listening to the squabbling of his neighbors and contemplating the aridity of his limbo-like existence
Early in his career, Len Jenkin identified two qualities that theatre should have: wonder and heart. Imagination creates wonder by transforming nature to suggest more than nature. Love engages the heart on the quest to experience the wonder, for though Jenkin is an experimental playwright, his plays are not abstruse symbols. They are tales that take salesmen and actresses, historical figures and fictional characters, through a Stein landscape and a Kafka story, pop culture, and recreated scenes from the Bible and The Canterbury Tales, The Aeneid, and Headlong Hall to an amusement park ride and a penal colony, a flophouse and a garden. Bodacious verbal and visual images build in power until they soar as pilgrims tell tales to pass the night while waiting to cross the river; Hawthorne, Sophie, and Melville on the beach hear the ever-encroaching kraken; and Margo Veil essays the roles that all questing mortals play in life.
THE STORIES in this collection were recorded from the lips of over sixty negro story-tellers in the remote country districts of Jamaica during two visits to the island in the summer of 1919 and the winter of 1921. The role of Anansi, the trickster spider, is akin to the Native American Coyote and the (Southern African) Bantu Hare. Herein you will find 149 Anansi tales and a further 18 Witticisms. The stories are categorised into Animal Stories, Old Stories (chiefly of sorcery), Dance and Song and Witticisms. You will find stories as varied in title and content as “The Fish-Basket”, “The Storm“, “The King's Two Daughters”, “The Gub-Gub Peas”, “Simon Tootoos”, “The Tree-Wife” and many, many more unique tales. In some instances, Martha Warren Beckwith was able to record musical notation to accompany the stories. As such you will find these scattered throughout the book. In this way the original style of the story-telling, which in some instances mingles story, song and dance, is as nearly as possible preserved. Two influences have dominated story-telling in Jamaica, the first an absorbing interest in the magical effect of song which far surpasses that in the action of the story; the second, the conception of the spider Anansi as the trickster hero among a group of animal figures. "Anansi stories" regularly form the entertainment during wake-nights, and it is difficult not to believe that the vividness with which these animal actors take part in the story springs from the idea that they really represent the dead in the underworld whose spirits have the power, according to the native belief, of taking animal form. In the local culture, magic songs are often used in communicating with the dead, and the obeah-man who sets a ghost upon an enemy often sends it in the form of some animal; hence there are animals which must be carefully handled lest they be something other than they appear. The importance of animal stories is further illustrated by the fact that animal stories form the greater part of this volume. 33% of the net profit from the sale of this book will be donated to Sentebale, a charity supporting children orphaned by AIDS in Lesotho.
New Playwriting Strategies has become a canonical text in the study and teaching of playwriting, offering a fresh and dynamic insight into the subject. This thoroughly revised and expanded second edition explores and highlights the wide spread of new techniques that form contemporary theatre writing, as well as their influence on other dramatic forms. Paul Castagno builds on the innovative plays of Len Jenkin, Mac Wellman, and the theories of Mikhail Bakhtin to investigate groundbreaking new techniques from a broad range of contemporary dramatists, including Sarah Ruhl, Suzan Lori-Parks and Young Jean Lee. New features in this edition include an in-depth study of the adaptation of classical texts in contemporary playwright and the utilizing new technologies, such as YouTube, Wikipedia and blogs to create alternative dramatic forms. The author’s step-by-step approach offers the reader new models for: narrative dialogue character monologue hybrid plays This is a working text for playwrights, presenting a range of illuminating new exercises suitable for everyone from the workshop student to the established writer. New Playwriting Strategies is an essential resource for anyone studying and writing drama today.
From a New York Times bestselling author comes book 2 of The Last Humans trilogy Yesterday, I learned all of Oasis’s secrets—or so I thought. As a new danger arises, the long-awaited Birth Day celebration turns into a nightmare, and this time, there may be no escape. In Oasis, nothing is what it seems.
New Playwriting Strategies offers a fresh and dynamic approach to playwriting that will be welcomed by teachers and aspiring playwrights alike.
The dramatic trilogy has been flourishing for some time now in new works and revivals of older works by American, British, and European playwrights. This book analyzes recent American works by Caucasian, African American, Asian American, and Hispanic American men and women. There are five chapters beginning with Opposing Families (trilogies of, e.g., Lanford Wilson, Foote, Machado, and McCraney are examined). Carson, Rabe, and McLaughlin are among those in the Classical Reimaginings chapter while Coen, Berc, and Wolfe constitute the Medieval Reimaginings chapter. Van Itallie, Havis, Rapp, and Hwang, among others, create New Forms. LaBute, Fierstein, and Nelson, among others, create New Selves. The concluding chapter is devoted to Ruhl's Passion Play, which spans 400 years of theatre-creating from Elizabethan England to Hitler's Germany to the Reagan era in America.
Linked loosely by setting--the sleepy coastal town of Salish Bay, Washington--these stories chart a course between the idyllic picturesque town and the dark secrets that lie beneath.