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THE STORIES: NIGHT THOUGHTS. After having lived alone for many years Dorothy, a chronic invalid, now has Ida staying with her. Dorothy is connected to a battery of machines that monitor her bodily functions and sustain her feeble hold on life, and
Two writers, a generation apart in age, meet in the older man's study to read over a two-character play which the younger man has written. The play deals with men disturbingly like themselves, and as they read the lines suitable to each it becomes apparent that reality and fantasy have begun to mingle painfully. The younger man is struggling to understand, yet also to break free and to speak in his own voice; the older man tries desperately to defend the memory of better times, and to overcome the erosions of age. Their relationship is one of love-hate, burdened by the debts owed to each other, yet sustained by an affection which neither can deny. In the end there is stalemate, and the knowledge that death alone can sever the ties which bind them.
THE STORY: Everyone is familiar with the tale of Marco Polo and his epic journey into the remote and exotic kingdom of Kublai Khan. But here the story is given extra dimension through elements of court intrigue, the attraction between the hero and
THE STORY: In the sinister recesses of her kitchen, Mother Rigby, the witch, fashions a scarecrow and then, christening him Lord Feathertop, she sends the scarecrow off to the house of Judge Gookin, a rich and haughty man who has repeatedly claimed that no young suitor in the town is good enough for his daughter. Lord Feathertop impresses Gookin as a person of refinement and importance, and he quickly invites the town's leading citizens to meet this most eligible of young men. His daughter, Polly, who is already in love with another, is not equally taken with the mysterious stranger, but her father, sensing that Feathertop's supposed connections with the powerful lords of England will be of benefit to him, flatters and cajoles his guest and even offers to betray his rivals in the Colony. Having little in his head to begin with, Feathertop has even less to say in response to all this, which convinces everyone that he is indeed a wise and weighty man. Then Polly catches a glimpse of him in a mirror, and what she sees is not the glittering Lord whom the others have deluded themselves into accepting but the scarecrow that he really is. Polly faints at the sight of him, and Feathertop, struck with the sham of his existence, forces the others to look too, and then goes back to Mother Rigby in sad dismay. He no longer wants to live knowing what he is and what others are like beneath their veneer, and casting his pipe aside, he becomes once more the straw-filled scarecrow—albeit one with a real tear of human emotion trickling down his painted cheek.
THE STORY: The time is 1776, the place Robert Murray's farm, in what is now mid-Manhattan. Preparations are in progress for a gala dinner in honor of General Howe, commander of the British forces which now encircle the beleaguered American troops i
An aging actor, forced into retirement after a lifetime on the stage, decides he will create for himself a new life based on Rostand's immortal Cyrano de Bergerac. With the help of other actors, the actor's fantasy becomes true to life and the he is faced with a life or death choice.
Buckingham tells the riveting story of a covert team of young, terminally ill teens who spend their last year alive running dangerous missions as super-spies for an organization that may not be all it seems.
Postcolonial Overtures explores the importance of sound in contemporary Northern Irish writing, focusing on the work of three canonical poets: Ciaran Carson, Derek Mahon, and Paul Muldoon. Obert argues that these poets respond to what Edward Said calls “geographical violence”—to the stratification of the North’s visual spaces; to the sectarian symbols splashed across Belfast and beyond—by turning from the eye to the ear, tentatively remapping place in acoustic space. Carson, for instance, casts Troubles-era Belfast as a “demolition city,” its landmarks “swallowed in the maw of time and trouble,” and tries to compensate for this inhospitality by reimagining landscape as soundscape, an immersive auditory field. This strategy suggests sound’s political and affective potential: music, accent, and even comfortingly familiar white noise can help subjects, otherwise unmoored, feel at home. Drawing on a diverse range of fields, Obert devotes two chapters to the examination of each poet’s work, allowing room for both in-depth formalist readings and contextual and theoretical understandings of the poems and their reverberating effects.