Both the letters, edited and censored by Runckel, and the plays, commissioned and edited by her husband, reveal a number of intriguing "detours" from the path of conventionality: biographical aberrations in her letters (her chagrined loyalty to her husband, her passionate "friendship" with Runckel) and poetological deviations from her husband's poetics expressed in her dramas."--BOOK JACKET.
Allow me to make some introductions. My name is Carl Prichard. I would like you to meet Silent Agony, the first of three novels dealing with the fictional crime lords of my hometown Detroit, Michigan. The forces that drive corruption seem hell bent on bringing together powerful men committed to destroy each other. Monkey Sharpe, the ex-con looking for stability by creating a chosen lifestyle in the trafficking of narcotics; The Ghost, a cold-blooded killer whose chosen profession allowed him to wear a peacekeeper's badge; Amps, the sick degenerate who collects his victim's ears to decorate his apartment; Sledgehammer, the ex-professional boxer and ex-con who contracted to kill; and Wee Willie Witchum, whose personal demons tormented him until he finally does the unthinkable to preserve his arch enemy in silent agony. The action is fast paced, the romance is steamy, and the characters are believable enough to be feared. Silent Agony serves up a man-sized story that will keep you up reading all night, and looking over your shoulder all day.
A chilling supernatural tale, The Survivor is an unforgettable horror by master of the genre James Herbert, the author of The Rats and The Fog. One of the worst crashes in airline history. 300 dead. One survivor. Keller walked out of the flaming wreckage, driven on by unseen forces, seeking the answer to his own survival. Now the dead are buried in the town of Eton and its inhabitants are trying to forget. Until the town is forced to face the shocking, dreadful evil that is now buried in the old graveyard. A truth Keller does not want to know but will be forced to confront . . .
This is a collection of interviews of twenty-one actors from Shakespeare theaters and festivals across North America, from the Oregon Shakespeare Festival in Ashland to the Chicago Shakespeare Theatre and the Stratford Shakespeare Festival in Ontario. The interviews celebrate the variety in education, training, and approaches to acting conducted by recognized performance scholars. Thus, this book combines scholarly expertise with actors' insights to produce unique views on contemporary Shakespearean performances in the United States and Canada, and fills an important niche in performance criticism. Michael W. Shurgot is Professor of Humanities at South Puget Sound Community College.
