An invitation for King Walt to attend a festival in the queendom of Flamburgia is the start of a chain of events. Queen Velma shows a new side of herself, and Hilda and friends end up in a very strange world where nothing is normal. They didn't mean to go there, but when a Wytches Roone is involved there is no telling what will happen, nor where you'll go. The problem of course is: how do you get home?
Tempests After Shakespeare shows how the 'rewriting' of Shakespeare's play serves as an interpretative grid through which to read three movements - postcoloniality, postpatriarchy, and postmodernism - via the Tempest characters of Caliban, Miranda/Sycorax and Prospero, as they vie for the ownership of meaning at the end of the twentieth century. Covering texts in three languages, from four continents and in the last four decades, this study imaginatively explores the collapse of empire and the emergence of independent nation-states; the advent of feminism and other sexual liberation movements that challenged patriarchy; and the varied critiques of representation that make up the 'postmodern condition'.
Hilda and William receive a cry for help from one of Hilda's former schoolmates. Of course, Hilda is going to do all she can to help, even if they have to travel to Aiaia.
As usual Hilda and William run into adventures, and this time into severe problems as well. They find out the hard way what it takes to go against a witch we all know, and this in a very extreme way! Prepare yourself for the strangest things, hang on to your broom, and ask yourself: what would you do with 150 horses and all those mirrors?
Kevin is determined that he'll never join a gang but his path crosses the Tribe's when he saves one of them from a rival gang. Invited to take their initiation test, Kevin plans to break the oath of secrecy and tell everyone. But he falls under the spell of the gang leader, Salom, and becomes a member. Kevin then discovers how hard it is to break away from the Tribe's rules and Salom's power, for when he's challenged Salom always makes you sorry. In this case he fastens on to Kevin's little sister, Glory, and Kevin is forced to take the initiation test again as his sister freezes with horror crossing a beam high above a ruined building.
1988. THATCHER'S BRITAIN. Seventeen-year-old Luke runs away to London – away from homophobic playground slurs, headlines that scream 'Don't Teach Our Children To Be Gay' and a family who wouldn't understand him – to Uncle Martin, who he once saw with his arms around another man at a march. In the capital, Mark is sacked because of fears about colleagues working with 'someone like him'. His boyfriend, Selwyn, faces being beaten up both by the police and at home by his own stepbrother. Meanwhile, Debbie battles with her son, who doesn't want to live with her and her girlfriend. And retired piano teacher Miss Rosenblum – who once found refuge in this country from a terror that swept away half her family in 1930s Vienna – has seen this sort of hatred and fear before. Soon, these individual stories – of first loves and old flames, alliances and abandonment, missed opportunities and new chances – intertwine to paint a vivid picture of Eighties Britain. This Island's Mine was originally performed by Gay Sweatshop in 1988. Now, three decades after the introduction of Section 28 banning positive representations of homosexuality, Philip Osment's passionate and lyrical play, of outsiders, exiles and refugees, is all too resonant.
Hilda and William leave for another vacation, some time away. Knowing the witch and her wizardly partner, this will end up in work of course. Tremors, flower witches, dwarves and trolls are only some of the elements that will turn this trip into yet an unforgettable one for the magical couple who will also have a few fun surprises along the way!
Songs of frustration and defiance from African slaves and displaced Indian laborers are expressed in a harsh and lyrical Guyanese Creole far removed from contemporary English in these provocative Caribbean poems. An insightful critical apparatus of English translations surrounds these lyrics, shedding light on their meaning, while at the same time cleverly commenting on the impossibility of translating Creole and parodying critical attempts to explain and contextualize Caribbean poetry. Twenty years after the initial release of this work, the power of these poems and the self-fashioned critique that accompanies them remain a lively and vital part of Caribbean literature.
Teeton lives multiple lives in England. One is with a bohemian group of Caribbean artist exiles; another is his curiously intimate mother-son relationship with his English landlady. He is aldo enmeshed in a revolutionary conspiracy to overthrow a reactionary Caribbean government. Teeton keeps each aspect of his life in compartments but when the revolt begins, his once separate worlds begin to fuse together with disastrous results.
