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Franko B has achieved international acclaim with his performances involving cutting and bleeding, ritualising the pain inflicted on his body. But throughout his career Franko has also made sculptures and collages, which relate to his performances in their exploration of martyrdom, pleasure and sexuality. Oh Lover Boy! looks at Franko's work from the Nineties onwards, and considers his objects alongside the more well-known performances. The book contains text by Sarah Wilson and an interview between the artist and Gray Watson.
A new collaborative venture between Manuel Vason and forty of the most visually arresting artists working with performance in the United Kingdom, Double Exposures brings together newly commissioned images and essays to explore new ways of bridging performance and photography. Ten years after Vason’s first book, Exposures, this ambitious project draws into sharp focus the body, the diptych, documentation, the photobook, identity, mediation, collaborative practices, and the relationship between photography and performance. With essays by leading critics, academics, and practitioners, this collection solidifies Vason’s centrality to the photography of performance. Copublished with the Live Art Development Agency (LADA). Published with the support of Arts Council England.
Lucy Trimble is retained by Greta Golden to find the identity of the man Greta is certain is following her.
Author and Poet Deborah Brooks Langford When I was in 5th grade my teacher introduced me to books. Jane Eyre withering heights... etc... I fell in love with books... They took me on adventures and I would daydream... And I started writing... I have been writing poems all my life. When I was in school I would write instead of listen and dream of different poems and stories. My passion is poetry. I love to write and if I don't write I feel very depressed. Writing my poetry and stories helps me emotionally. I was born in North Carolina, I am a military brat. We lived in Germany and Spain and Turkey. My father's side of the family comes from Cherokee North Carolina and my mother's families are English.
It's 1993, and Generation X pulses to the beat of Kurt Cobain and the grunge movement. Sixteen-year-old Maggie Lynch is uprooted from big-city Chicago to a windswept town on the Irish Sea. Surviving on care packages of Spin magazine and Twizzlers from her rocker uncle Kevin, she wonders if she'll ever find her place in this new world. When first love and sudden death simultaneously strike, a naive but determined Maggie embarks on a forbidden pilgrimage that will take her to a seedy part of Dublin and on to a life- altering night in Rome to fulfill a dying wish. Through it all, Maggie discovers an untapped inner strength to do the most difficult but rewarding thing of all, live. The Carnival at Bray is an evocative ode to the Smells Like Teen Spirit Generation and a heartfelt exploration of tragedy, first love, and the transformative power of music. The book won the 2014 Helen Sheehan YA Book Prize.
Charles Albert MacDonald, born of Scottish descent in 1902, father of three, husband to one, WWII war-hero and grandfather—claimed to be many things that he was not. His true birth name was Carlos Alberto Roder, of Trujillo, Peru. Born to a large family of generational cane farmers where on a scorched slice of dusty earth, he grew up hard. And in the year of 1916, our young tough Carlos, a.k.a. Carlito, fell in love with perhaps the right girl, but most certainly the wrong daughter. The daughter to one Rafael Morales Torres, chief commissioner of the Peruvian Civil Guard, and in more intimate circles, known as just “El Jefe.” Carlito’s life was set to end well before he’d reached his seventeenth year. His flaunted love affair with El Jefe’s one precious daughter landing him in a black cell, cut deep beneath the great Inca Citadel of Machu Picchu. Until his father, four brothers, and a family burro named Sid, changed his life’s course forever. Once freed, Carlito was stowed aboard a tattered fishing schooner bound for the Republic of Costa Rica. Hidden away from the prying eyes of those who sought to take his fledgling life. Or so they’d thought. From Central America he traveled on across the sultry Caribbean Sea and into the vast cerulean bluster of the Atlantic Ocean. To stand upon Liberty Island in America’s New York Harbor. Huddled, tired and poor, yet free. Free to gaze upon Auguste Bartholdi’s Lady Liberty in all her glory. Where he’d step from a rusted, Irish-made steamer to start a new life under the name, Charles Albert MacDonald. His Peruvian roots and family all but forgotten. Left behind to become the bloodied prey of a new Peruvian order and El Jefe’s brutal rise to power. The girl that would one day be the mother of his child, left behind to perish in agony. To pay for their indiscretions from this life to the next within the callous hands of true evil—the hands of her adopted father—El Jefe. Charles discovered the many horrifying truths late in life, hollowing his soul, rendering him a broken man. Left to ponder endlessly over a myriad of “what if’s.” The demons of his past roaming freely within him, pulling and pushing at his sanity. But what if he could go back in time to right the wrongs he unwittingly set to motion? To rewrite his life’s tortured story? On the morning of August 28th, 1982, Charles Albert MacDonald passes on. But in an aberrant turn of events, well beyond the natural course of things, he’s given an “option.” A chance at the redemption he’d pleaded and begged for throughout his life. But as he’ll soon find out, true redemption has its price. You see, old scores never really die, they lie in wait, lurking hungerly in the shadow.
Twenty year old Debbie Wilson, very sexually active, bumps, literally, into a handsome stranger who is more than twice her age. But that doesn't bother her as she's had many a one night stand with men of all ages. Steven, the handsome stranger, is a widower at 47 years old and lives alone. Debbie is instantly keen to make him her next one night of passion. However, Stevie, as she begins to call him, is very reluctant to bow to her desires. The age difference is his biggest obstacle even if it is no obstacle for Debbie. Also Steven's position as a schoolteacher puts a block on any advances by any girl that is, or potentially is, a pupil at his school. He is a black belt at karate, rides a Harley Davidson and speaks Italian. Although Debbie continues in her sexual lifestyle, she becomes besotted with Stevie, even imagining it is he she Is with when in sexual activity with other men. Stevie meantime holds back his feelings as he has some skeletons lurking in his closet that he keeps close to himself. Memories of his late wife come back to him but he enjoys dating with Debbie for the companionship and friendship to the point he yearns to be with her. But Debbie's life continues with exciting ventures such as a business trip to Scotland and a friendship with another woman that develops into something she never would have believed she would ever do. Steven's story is really exposed when he finally meets Jackie, Debbie's mother. He opens up his heart and unloads all his pent up emotions to add a further stumbling block to his relationship with Debbie. Debbie and Stevie declare their love for each other after a couple of weeks in each other's company and it ultimately leads to the bedroom. But what goes on behind that closed door?
'Tender and rigorous, this book invites readers to linger with difficult pasts and consider how best to grasp their hauntings, demands and manifestations in the present. This is a book about mourning as well as holding, a simultaneous act of exhumation and a laying to rest.' anna six, author of Madness, Art, and Society: Beyond Illness 'This is an extraordinary book, in which queer theatre and performance become sites of celebration and resistance, as well as holding the potential for performers and audiences to work through painfully felt yet difficult to articulate experiences towards feelings of hope. Replete with rigorous, generous and creative readings, it is also a meditation on Walsh's own emotional engagement with queer theatre and performance, and how our cultural attachments can sustain, enliven and contain us.' Noreen Giffney, psychoanalytic psychotherapist and author of The Culture-Breast in Psychoanalysis Why do contemporary queer theatre and performance appear to be possessed by the past? What aesthetic practices and dramaturgical devices reveal the occupation of the present by painful history? How might the experience of theatre and performance relieve the present of its most arduous burdens? Following recent legislation and cultural initiatives across many Western countries hailed as confirming the darkest days for LGBTQ+ people were over, this book turns our attention to artists fixed on history's enduring harm. Guiding us through an eclectic range of examples including theatre, performance, installation and digital practices, Fintan Walsh explores how this work reckons with complex cultural and personal histories. Among the issues confronted are the incarceration of Oscar Wilde, the Holocaust, racial and sexual objectification, the AIDS crisis and Covid-19, alongside more local and individual experiences of violence, trauma and grief. Walsh traces how the queer past is summoned and interrogated via what he elaborates as the aesthetics and dramaturgies of possession, which lend form to the still-stinging aches and generative potential of injury, injustice and loss. These strategies expose how the past continues to haunt and disturb the present, while calling on those of us who feel its force to respond to history's unresolved hurt.
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