"A family is a remarkable thing, isn't it? You belong. And then you don't. It passes you by. Unless you start a family of your own." The last two plays of Horton Foote's Orphans' Home Cycle both expand and contract the circle of a family that unifies all nine of the plays. In Cousins, an operation on Horace Robedaux's mother reunites, in person and in memory, the many Robedaux relatives (one of whom speaks the lines quoted above), and in the almost comic proliferation of cousins that results, the orphaned Horace is joined across time and space to a family that seems never to end. The Death of Papa returns the cycle to its origins, with the death of Horace's father-in-law. Far from ending the story, however, Papa's death regenerates the complexity of families and their survival, as his son bravely but foolishly tries to assume control of the land that supports his family's life.
Listening for the Voice of Love After a serious van accident leaves Amish schoolteacher Jolene Yoder profoundly deaf, she leaves home to learn how to read lips and communicate with sign language. But two years later, a family with children who have been deaf since birth moves to Jolene’s hometown, and she is asked to return as their teacher. Lonnie Hershberger has lost faith in God and in women ever since his girlfriend broke up with him when he lost his hearing during an explosion. When he starts falling in love with Jolene, love-shy Lonnie sees no future in becoming emotionally tied to Jolene. For how could he hope to protect her, if he can’t even hear? Besides, Jake Beechy seems to be taking up most of her free time. Meanwhile, Ella Miller is worried Jake will end up breaking her cousin Jolene’s heart. Little does Ella know that Jake is interested in her—not Jolene. What drastic measures will God use to bring these couples together? Indiana Cousins Series: Book #1: A Cousin's Promise Book #2: A Cousin's Prayer
A short description about this book would be that it is a book about the life and death of three people.One of them is a seven years old girl abandoned by her father.Another is a young boy betrayed by his girlfriend.And the last one is a cold blooded cultist who seeks his father's death.There's a lesson to be learnt from the life of each person in the book. From the first person we learn about the role of responsibility that comes with our actions.From the second we learn about the danger that comes with bad relationships.And from the third we learn about the evil that comes with harboring pain and grudge.
Since the early 1970s southern fiction has been increasingly attentive to social issues, including the continuing struggles for racial justice and gender equality, the loss of a sense of social community, and the decline of a coherent regional identity. The essays in The World Is Our Home focus on writers who have explicitly addressed social and cultural issues in their fiction and drama, including Dorothy Allison, Horton Foote, Ernest J. Gaines, Jill McCorkle, Walker Percy, Lee Smith, William Styron, Alice Walker, and many others. The contributors provide valuable insights into the transformation of southern culture over the past thirty years and probe the social and cultural divisions that persist. The collection makes an important case for the centrality of social critique in contemporary southern fiction.
She’s a maid with big dreams. A dutiful lady’s maid, Miss Madeline Atwood knows precisely what her future holds: countless nights of dressing her mistress in silk gowns, pinning her hair in elegant curls, and selecting the perfect pair of slippers before sending her off to the ball. But Madeline harbors a secret dream. Just once, she’d like to be the one who attends the grand party—and tonight could be her chance. All she needs to do is borrow her mistress’s cast-off dress and sneak downstairs during the Twelfth Night Ball… He's no prince charming. Lord Justin Whitmoreland, Marquess of Whitmore, is a confirmed bachelor for good reason, and none of the eligible young ladies in London has even tempted him to change his mind about marriage. But after sharing one sensuous dance with a mystery woman, he finds himself looking for her around every street corner and in every ballroom. The very last place he expects his mystery woman to turn up is under his own roof. Can midnight work some magic? When Madeline is sacked from her job, Justin’s meddling sister hires her as her new lady’s maid. Which would be well and good if they didn’t have to face temptation every day—and every night. Justin would have to be the worst kind of scoundrel to trifle with a woman in his employ, and Madeline believes she has zero chance of capturing a marquess’s heart…so why is it so difficult for them to resist stealing private moments together? It’s the most improbable of matches, but if the slipper fits…
Marian Burkhart offers here an engaging discussion of the work of revered playwright Horton Foote, winner of a Pulitzer Prize and two Academy Awards. Hallie Foote, the playwright's daughter, has written a foreword. A tribute to Foote, Burkhart's book leads the reader into a body of work that continues to win acclaim and grow in popularity for its transcendent and timeless messages. As Burkhart explains, "All of us are the 'ordinary' people who are at home as they live their 'ordinary' lives in the town Foote built out of his inspired understanding of what life means. One has no need to be from East Texas or to go there, for the town exists fully only in the theater, and it houses all of us. That's why this book is called Horton Foote's America."
A Pulitzer Prize--winning playwright, an Emmy-winning television writer, and an Oscar-winning screenwriter of such notable films as To Kill a Mockingbird, Tender Mercies, and A Trip to Bountiful, the amazingly versatile Horton Foote has been a force on the American cultural scene for more than fifty years. By critical consensus, Foote's foremost achievement is The Orphans' Home Cycle -- a course of nine independent yet interlocking plays that traces the transformation over twenty-six years of a small-town southern orphan, Horace Robedaux, into a husband, father, and patriarch. Drawing on a wide range of sources, including interviews with Foote, Laurin Porter demonstrates why the author's masterpiece is a unique accomplishment not only in his personal oeuvre but also in the canon of American drama. Set in and near Harrison, Texas, the fictitious counterpart to Foote's native Wharton, and based partly on his father's childhood and his parents' courtship and marriage, the plays introduce two extended families -- those of Horace and his wife, Eliazbeth -- across three generations, as well as numerous townspeople whose lives intertwine with theirs. The result is a wide-ranging, intricate work of interconnected stories reminiscent of William Faulkner's Yoknapatawpha saga. Porter shows how the small-town southern culture speaks through Horace while she examines the functions of family and community in identity formation. She explains that Foote's signature style -- which replaces stage directions, poetic language, and suspense-driven narratives with sparse, restrained dialogue and seemingly actionless plots -- creates a simmering power by stressing subtext over text, a strategy more often associated with the novel than drama. Similarly, Foote uses recurring character types and motifs, interrelated images and symbols, and parallel and inverted events that reverberate within and among the plays, employing language and structure in innovative ways. In comparing the cycle with the works of William Faulkner and Eugene O'Neill, Porter positions Foote at the intersection of southern literature and American drama. Foote's emphasis, Porter concludes, is not so much on returning home as on leaving it and building a new family, contending that for Foote home is not a place but a geography of the heart. Her definitive Orphans' Home shines much-needed light on an understudied talent and proves Foote's to be a vital American voice.
Issues of Life and Death such as abortion, assisted suicide, capital punishment and others are among the most contentious in many societies. Whose rights are protected? How do these rights and protections change over time and who makes those decisions? Based on the author’s award-winning and hugely popular undergraduate course at the University of Texas, this book explores these questions and the fundamentally sociological processes which underlie the quest for morality and justice in human societies. The Author’s goal is not to advocate any particular moral "high ground" but to shed light on the social movements and social processes which are at the root of these seemingly personal moral questions. Under 200 printed pages, this slim paperback is priced and sized to be easily assigned in a variety of undergraduate courses that touch on the social bases underlying these contested and contentious issues.
