Olivia wants the 80 acres in Michigan that her father left to whichever of his offspring wants to stake a claim. The problem is that Olivia is female and 17 years old and the year is 1841. She enlists the help of Mourning, a black man who is the son of runaway slaves and sets out to homestead.
Detroit, Michigan - 1842 After the devastating trauma she suffered in Olivia, Mourning and finally knowing the reality with which she must contend, Olivia strives to rebuild herself - emotionally, socially, and financially. She starts a new life in Detroit, the young and exciting city on a river where she has come to feel at home. New friends help the healing process, while she continues her search for the two people she loves, who have disappeared from her life. She finds the greatest solace in helping fugitive slaves escape over the river to Canada. She believes, as one of her new friends says, "In this time and place it is the most worthy thing a person can do." Olivia remains a compelling protagonist on a journey to find a way to do the right thing in a world in which so much is wrong.
The debut novel from the “Munro-esque” (Houston Post) author of Disasters in the First World, Here Lies is Olivia Clare Friedman’s visceral and portentous look at mourning, memory, and motherhood in an alternate Louisiana ravaged by climate change. Louisiana, 2042. Spurred by the effects of climate change, states have closed graveyards and banned burials, making cremation mandatory and the ashes of loved ones state-owned unless otherwise claimed. In the small town of St. Genevieve, Alma lives alone and struggles to grieve in the wake of her young mother Naomi’s death, during which Alma failed to honor Naomi’s final wishes. Now, Alma decides to fight to reclaim Naomi’s ashes, a journey of unburial that will bring into her life a mysterious and fiercely loyal stranger, Bordelon, who appears in St. Genevieve after a storm, as well as a group of strong, rebellious local women who, together, teach Alma anew the meaning of family and strength. With poignance, poeticism, and deep insight in Here Lies, Olivia Clare Friedman gives us a stunning portrait of motherhood, friendship, and humanity in an alternate American South torn asunder by global warming. This is a stunning first novel from a unique and inventive writer.
Since young male players were the norm during the English Renaissance, were all cross-dressed performances of female characters played with the same degree of seriousness? Probably not. Spectrums of Representation in Shakespearean Crossdressing examines these varied types of female characters in English Renaissance drama, drawing from a range of play texts themselves in order to investigate if evidence exists for varying performance practices for male-to-female crossdressing. This book argues for a reading of the representation of female characters on the English Renaissance stage that not only suggests categorizing crossdressing along a spectrum of theatrical artifice, but also explores how this range of artifice enriches our understanding of the plays. The scholarship surrounding cross-dressing rarely makes this distinction, since in our study of early modern plays we tend to accept as a matter of course that all crossdressing was essentially the same. The basis of Spectrums of Representation in Shakespearean Crossdressing is that it was not.
This volume includes the text of Twelfth Night as prepared and annotated by David Swain for The Broadview Anthology of British Literature, and is accompanied by the excellent introduction and supplementary materials from the anthology. The diverse and extensive appendices acquaint readers with Shakespeare’s sources and contextualize the play within Elizabethan society. The appendices include an excerpt from Barnabe Riche’s “Of Apollonius and Silla,” Shakespeare’s primary source of inspiration for the play; selections from Galen, Plato, and others illustrating Elizabethan attitudes toward gender and sexuality; excerptions illuminating contemporary moral discomfort with the theatre, such as Philip Stubbes’s “Of Stage-plays and Interludes, with their wickedness”; and pieces on music and duelling that illustrate cultural conventions important to the interpretation of Twelfth Night. This is one of several Broadview Anthology of British Literature Editions being released this year; those wishing to teach the text will have the option of including the convenient stand-alone book as part of a specially-priced shrink-wrapped package together with a volume of the anthology.
Designed for courses taught at the introductory level in Canadian universities and colleges, this new anthology provides a rich selection of literary texts. In each genre the anthology includes a vibrant mix of classic and contemporary works. Each work is accompanied by an author biography and by explanatory notes, and each genre is prefaced by a substantial introduction. Pedagogically current and uncommon in its breadth of representation, The Broadview Introduction to Literature invites students into the world of literary study in a truly distinctive way.
In the early pre-dawn on a day in May of 1963 as sunlight glimmered in the offing of Lake Michigan, Chicago awakened to the promise of a fine spring day. Jimmy Flores and Paddy O’Halloran, friends and scholarship track athletes, saw the first glimmers of a world beyond their college graduation, scheduled for later that morning on the Loyola campus several miles behind their rapid footsteps along the Lake Shore Trail. In the next ten years, a period beginning with Eugene ‘Bull’ Connor unleashing fire hoses and police dogs on demonstrators protesting segregation in Birmingham, Alabama, and ending with the resignation of Richard Nixon, Chicago and America went through enormous turmoil and profound changes. My novel, ‘Footsteps at Dawn’ interweaves the careers and fortunes of my two heroes during that period with those of Chicago, and by extension, our country. From the floor of the commodities exchange, to an interviewer’s desk in a state employment office, to a classroom in an elementary school for immigrant children, to an alderman’s seat in the City Council Chamber, to Michigan Avenue amidst violent clashes between police and thousands of anti-war demonstrators during the Democratic Presidential Convention of ’68, they venture through their rapidly changing world with intelligence and humanity, experiencing both tragedy and joy as they seek a new dawn.
‘John Haddon offers creative, systematic and challenging approaches which don’t bypass the text but engage children with it.’ – Trevor Wright, Senior Lecturer in Secondary English, University of Worcester, UK Teaching Reading Shakespeare is for all training and practising secondary teachers who want to help their classes overcome the very real difficulties they experience when they have to ‘do’ Shakespeare.
The evolution of Shakespeare's comedy, in Larry Champion's view, is apparent in the expansion of his comic vision to include a complete reflection of human life while maintaining a comic detachment for the audience. Like the other popular dramatists of Elizabethan England, Shakespeare used the diverse comic motifs and devices which time and custom had proved effective. He went further, however, and created progressively deeper levels of characterization and plot interaction, thereby forming characters who were not merely devices subordinated to the needs of the plot. Shakespeare's development as a comic playwright, suggests Champion, was "consistently in the direction of complexity or depth of characterization." His earliest works, like those of his contemporaries, are essentially situation comedies: the humor arises from action rather than character. There is no significant development of the main characters; instead, they are manipulated into situations which are humorous as a result, for example, of mistaken identity or slapstick confusion. The ensuing phase of Shakespeare's comedy sets forth plots in which the emphasis is on identity rather than physical action, a revelation of character which occurs in one of two forms: either a hypocrite is exposed for what he actually is or a character who has assumed an unnatural or abnormal pose is forced to realize and admit the ridiculousness of his position. In the final comedies involving sin and sacrificial forgiveness, however, character development is concerned with a "transformation of values." Although each of the comedies is discussed, Champion concentrates on nine, dividing them according to the complexity of characterization. He pursues as well the playwright's efforts to achieve for the spectator the detached stance so vital to comedy. Shakespeare obtained this perspective, Champion observes, through experimentation with the use of material mirroring the main action--mockery, parody, or caricature--and through the use of a "comic pointer" who is himself involved in the action but is sufficiently independent of the other characters to provide the audience with an omniscient view.